Watercolor Cityscape - Block major shapes using Single Wash | Sweta Kaushik | Skillshare

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Watercolor Cityscape - Block major shapes using Single Wash

teacher avatar Sweta Kaushik, Watercolor Artist & Urban Sketcher

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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

10 Lessons (1h 9m)
    • 1. What is this Class all about?

    • 2. Supplies

    • 3. Intro to the 3 Paints

    • 4. Clock Tower - Sketching

    • 5. Clock Tower - Painting Part 1

    • 6. Clock Tower - Painting Part 2

    • 7. Street Scene - Sketching

    • 8. Street Scene - Painting Part 1

    • 9. Street Scene - Painting Part 2

    • 10. Wrapping up!

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About This Class


Join me in this class, where we will paint 2 Cityscapes using a limited colour palette of 3 paints! I have made two well composed Cityscapes Clock tower scene & a Street Scene, with beautiful arrangement of shapes. Learn how by just painting shadows you can bring out the sunlit area. Unique thing about this approach is that we will paint these Cityscapes in One go! A single layer of shadow which is cleverly joined around the shapes.

Paint & Sketch different elements of a Cityscape like Domes, Shades, Awnings, People, Streets, windows and doors. 



We will discuss about pigments and properties of the 3 paints Sodalite Genuine, Amazonite Genuine and Cascade Green, no worry if you don’t have these exact pigments as I have given alternatives to them.


Take this class to understand how I compose a Scene, paint a focal point and evoke that excitement in the viewer’s eye. This class challenges you to use your brushstrokes economically and develop an eye for good design and composition.

Happy Painting!

Meet Your Teacher

Teacher Profile Image

Sweta Kaushik

Watercolor Artist & Urban Sketcher



Hello Artists,

I am Sweta, a traditional Watercolor Artist, Urban Sketcher & the Founder of the 'Urban Sketching Circle - A Membership for on-location painting'. I live in Delhi, India.

I am a passionate teacher and present modern solutions to my student's problems, improving their observational skills and allowing them to visualize and interpret the 3- Dimensional world in front of us accurately on paper.

If painting from 3D world is a bit hard for you, then click here and download my free guide on Urban Sketching - 5 steps to simplify what you see.

See full profile

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1. What is this Class all about?: Hi, guys. In this class, we're going to make these two beautiful lock bolts using only three paints were using minimal art supplies. In this class, I will talk about all our supplies I'm using on. Then we'll discuss about the pigment and properties off the three pains in details. In these exercises, we're gonna mix paint on paper that is very soothing to watch. I'll also tell you the alternatives to sort of like genuine Amazon enjoy annoying. On Cascade Green, I have got to welcome posted escapes with beautiful arrangement of shapes and feel how just by painting shadows, you can bring out this and light areas. You're gonna learn the elements of cityscape that's gonna bring excitement, toe any off your work. We're gonna paint us to have seen that can steal the show. We'll also add awnings, baby oh, and shades. After taking this class, you'll get enough confidence to sketch and paint clocked ours domes on a busy street. This class is different from my other class as we're gonna finish it in one wash, take this class to understand how our composers seen create the focal point and evoke that excitement in the viewer. side. If you are the one who always over works the painting than this class will challenge you to use the brush strokes economically. And you'll also develop in I for good design and composition. So, guys, I hope to see you in the class. 2. Supplies: Hi guys. In this part of the video, I'm going to tell you the art materials that I used to make these beautiful cityscapes. I'm gonna use a distinct try. Alofs Odle Ay, Geno in Cascade Green and Amazon A general, I have these three pains in my palette from a long time on their magical. They each give different moods on. It's a joy to paint with them. If you don't have these three shoots, I have given the alternatives in the next last, and I didn't do it purposefully. But after finishing the video, I realize somehow I had used only three brushes for this class, so I used Princeton Neptune three by four inches flat brush silver well with brush number eight on. Deal around in a before rigger brush. If you don't have thes pressures, you can also use any bob brush in place off flight brush on. Use any other number eight. Our friend round brush for smaller parts, so don't try to paint entire cityscape using only a big mob brush. I would recommend you to change the size of the brush according to the part you're painting the palate I'm using toe makes the pains is my urban's catching palate. It's Ah, white enamel palate. It's start E on and my favorite. I'll pour my paints into it and use them directly. Other than that, ah, you would be requiring masking tape and issues and a water container. Let's talk about paper now. You must have seen that I use Brewster sketching paper. Ah, lot Andi, I'm going to use the same paper in painting. These two cityscapes are you may call thems streetscapes and the dimension off this paper. I'm using Harris 21 into 21 centimeter. My other choices for a watercolor paper would beach it, but paper on arches, rough breast paper. But you can use any watercolor paper for this class Bead student Are artists grade as we won't be doing a lot off leering because, as you can see, we're going to paint shadows directly in First wash. Andi. You'll be amazed at how sit escape will emerge out of it. And if you are more interested in knowing about the technicalities in this class, we learn how to join the major shapes. By painting the shadows. You'll also see how I have executed the negative painting technique about which I have talked more. In one of my previous class water glass, he escapes 3. Intro to the 3 Paints: in this part. I'm gonna scratch these pains out and tell you how you can use them to their best possibilities. In this tutorial, where I'm going to paint to artworks using only three pains. If you have several a genuine you are good to go. You don't need Amazon genuine on Cascade Green. I'm going to. He used these two x trappings to bring that extra pop and variation in the colors. Alternatives to the delight genuine are so the mean. The 1st 1 that comes to my mind is pain scree. It's Ah, cool black other our lunar blue in enthrone indigo, our lunar black or mars black. You can also try out moon lo and shadow violet. You can make your own gray using burnt sienna with ultra marine blue, French ultramarine blue or cobalt blue, deep cobalt blue. Deve. We'll give more interesting effects because it granular is heavily, and if you mix it with Bonzi Anna, you'll get a grave. Ah, cool black, but with granulated properties, you can also try a mix off cerulean blue and cadmium orange, but it's a bit tricky to get this mixed. Correct. Most of the pain square. Oh, peak on. I advise you to use a semi transparent to transparent grave with high pigment load so that it can show the white varieties off tonal values. Here I have switched Lorelei genuine into different washes and mixed it along with Cascade Green. Andi Amazon, a genuine solar genuine, is a primatech big main from Daniel Smith on it basically accentuates all the colors that I use it. With its low straining and semi transparent, it's an intense big men that can be used to create monochromatic studies. It got a permanent place in my palette, the force time I used it. It's so good. I have used both the stick and you form, but it's a series four paint, so that means is really costly. If you have used totally genuine do, let me know what other properties that you like about it. You can come and down in the discussion area and we'll start talking. Oh, by the way, here I'm using Silver Velvet Brush number eight to make this beautiful swatches and mixes. Now let's move on to the next pigment here. I'm going to watch Amazon genuine. Ah friend gifted this to me and I was aware that this big man was less saturated service and much excited about it initially. But man, when it forced, watched it out. It blowed my mind away. It's the perfect you for summary sees. Best used for ocean. It's a non staining, transparent bean that can be lifted. It's a prime, a tick being from Daniel Smith. But downside is that it's hard to rivet best using directly from the to, and so delay. Genuine is easy to reread. Even after I put it in the palette and it dries out. It's easy to mix Ah, Hugh, similar to Amazon genuine mixed Taylor green with a little bit off blue, and you're good to go. Other than that, you can use the alternatives like ultra marine talk wise COBOL Talk wise. Read in green are You can also try a mix off cobalt ill read a little bit off green. Let's talk about Cascade Green. It's a make sure off to pigments rosiana on Taylor blue. So if you have both of these pigments, you can easily makes Cascade Green. When you put it into a wash, it separates into blue and green colors, According to Daniel Smith, It's a medium staining, semi transparent paint on it. Also granulated. It's you can use any green that you're comfortable with instead off Cascade cream. So both Cascade green and Amazon genuine are best used in creating the domes and the architectural structure. I somehow knew that these three pains would do wonders together. It was an idea that just crossed my mind on its one of the most favorite Try off My This trial brings all time. Feels to me I hope you like this part of the class. I always like to talk extensively about paint pigments and its properties. 4. Clock Tower - Sketching : so I'm gonna paint the clock ter on This building is located in Bologna, Italy. I started by dividing the page in two unequal halves Tour. I felt nervous sketching while recording, So I further divided the page by marking the buildings roughy. I like using this mechanical pencil it 0.7 Emam in size and my paper is mounted on a canvas . You can use any Hartsell face like that off a book on Moscow paper on it from all four sides. My surface is tilted at an angle, so I draw only the last shapes like sky for ground. The big buildings and tars and I don't draw the small details. I directly approached them after the first wash off watercolor. But here I'll mark a few details to make it easier for you all. Do not use, kill and try to stand value sketch. Use big shoulder movements here. I'm not ableto sketch using build big shoulder movements cause I'm sitting and recording this building at the back is only partly visible. I'm careful measuring Andi thinking where I should put the next line. Andi, if it should be straight or a little bit bended, I was the one who used to award sketching at all costs. But there came a point where I knew I won't be making any progress until I walk on my sketching skills. So I made a routine to sketch for 10 to 15 minutes every day on. I only used to make ah, logical line horizontal lines and dagger lines, So I basically fill my entire page. So if I took on a four size of sheet, I used to fill it up with lines off all different kinds. And then I used to make ovals and circles free handedly Andi. In all these activities, I used to use the shoulder movements, my elbow and my wrist. We're not moving at all. It was only my shoulder that was making all the strokes. And for that you really need to stand up while doing these activities. So when I decided to teach these complicated cityscape to you all, I knew that I would have to find a way to simplify the sketching part on. You would have seen that in all of my tutorials I only sketched the major shapes, and I was amazed that how these streets really helped a lot A few guys on I could see you working on Complicated City escaped even when you had no prior education about sketching. I love to teach watercolors, and I want to share that excitement when you get a finished painting that you had never thought that you would be able to make. So when I had started out, I had never thought that I would be able to make even simple landscapes. Everything that I created was a mess. It was dull and dark washes, and I couldn't figure out any off the water color mixes. And slowly I realised that watercolor is all about simplification. You don't have toe. Keep brushing the washes. You have to try to figure out a way that you could walk you things in minimal strokes on minimal colors. I hope you're painting along on, and the sketching is going smoothly for you. Now I'm making this dome structure. I love making dorms and painting them. Do you like adding domes into your paintings? I just try to find ways to add them into all of my paintings. Now I'm adding a flag. Keep comparing the relative heights off the buildings around on and you can see and compare if one tower is higher than the other. It took me around 10 to 15 minutes to sketch this. Andi, this is a real time video. Andi. I edited out the part where I wasn't sketching, but checking the camera and fixing it. I'm rushing while sketching the towers in the bag because they're not in our focus on do. They don't need to be clearly defined. Let's start working on the foreground and sketch people sketching people. Keep in mind that heads are way smaller than you think. Andi, mostly people create bigger heads. Do make next or leaves piece. For that, make as many people as you can because they only increased the charm off painting. I'm making sure that the heads off all the people in this painting are on the same line, and that is the horizon line. I have explained this concept in lot off my tutorials. Sketching is about to get over. I hope it was easy peasy for you, and I have ah recommendation for you sketch both the paintings in one goal because it's easier toe being them afterwards. But going back to sketching is not that easy, as you would think. Here I'm making perspective lines that are broader towards the viewer and the vanishing point would be at the horizon line. I hope you learned something new today and let's move on and put colors in this sketch. 5. Clock Tower - Painting Part 1: So let's begin the most interesting part, which you all were waiting for. I am pouring out all the pains so delayed genuine is at the bottom Cascade green in the middle and Amazon night on the top. I'm using my flat brush from Princeton Neptune Onda prepping, some pained. Now I'm prepping some pain for the sky, and this doesn't have cascade green in it because we don't want green in our skies. Just keep applying such simple, watery strokes, and don't over brush the part that you have already painted. When you do that, you lose the clear, glowing washes. I want you to see that the sky on the right side is darker and the sky on the left side is lighter in value. See how I'm continuing with the beads formed because off the washes and pulling it downwards, just showing direction to the paint on paper, getting somewhat tickers or delayed Andi sprinkling it in the sky to break the community off the wash. Now I keep willing this wash until the top part off the for the most Traver using my flat brush. Even if you don't have a flat crush, you can easily use your ma brush on. In some cases, it's going to be really easier to cut out around the edges using a mop brush because it has appointed tip shifting to the silver velvet brush. Number eight I'm picking up a tick makes off so really genuine and adding a little bit off Hamas and genuine. I'm walking toe paint, the building on the left, My sky wash is still wet, and I started painting the building at the same time. You can see that I'm basically painting the shadows. Only Onda also notice that the sky wash is lighter in value than the shadow wash on the changes in washes from so delight to Amazon, I'd brings the realism. Actually, it's the variation off cool and warm that does this magic. See how the wash was a bit cooler in valley. Now I am adding sort of genuine to change it. Now this layer has leaked a bit into the sky wash. I don't mind it if it's only a little bit, but if the color would have been stronger, then I would have to pet it and remove the excess color that would have lead into the sky if it happens to you, use that issue to remove the excess water Are pain from the surrounding. Now I'm using a much watery mix off, so delight and Amazon night. Andi, I am painting the shadow under this shade, going to join them together now changing the tonal value again. This has more so delight in it. Andi, I am extending the shadow down. I'm going to paint around the sketch off the people and if couldn't do the same, Andi, cover the people by mistake. Then you can use a vied gosh later to make the people again. But for that you will have to wait for the base wash to dry out. Descend are wash is still wet and I am extending it towards the middle. This is my way of joining the big shapes by bringing the shadows together. Do leave some gaps at random spots. The create realism. Andi those gaps looks like objected distance. I use more take consistency off so delight as I go down and again, I'm going to paint around the human figures slowly. Andi, keeping in mind, tow ard on some gaps for the windows and different things at the distance, and this part is nearly done, adding. Some more darks around here on Don't do it. If it has dried completely, let's move on to the dorm area. The area around the dorm is dry, which is good because such a strong load off color if league around would spoil the entire sky. My brush is loaded with the mix off Amazon Night and Cascade Green. Don't would look good if you paint them with blues and greens only you can add a little bit of soda light if you want to bring some darkness into them. Here I am using thick consistency off the beans. See how I use my brush to its best. It's a good pointed brush, so I'll use the point to make the windows and dots and lines around. And when I have to cover the dome, I'll just swipe it from the belly part off the brush. Now the paint is spreading near the right sky wash. I'll keep adding a little bit of details so it looks more realistic. My brush has thick consistency off the pains on DSI. It has spreader. Now I'm gonna use a tissue to dab and remove the excess off pain that has spread into the sky wash. This area has to be a little bit more, doctor, if you have seen other classes of mine. I always revived my classes into First Wash second Wash off the Shadow and later than I do the details when the entire painting has strayed out. But in this class, I'm gonna do the details as I go. Since there is only one wash, I don't need to wait for it to dry before doing the details, so I will keep doing the details as a please. I'm picking up a little bit more watery mix off Cascade Green. It also has Amazon intended on. I'm going to swipe it right here and now. I'll father define the boundaries, and it's good to go picking up a little bit more watery, wash off, sort of like genuine. I'm going to be in some more shadows on some windows. You don't need to be accurate. While putting up the windows, brushstrokes is an important part to learn watercolors. Andi, knowing how much pressure you want to put on your brush to bring out certain strokes, is really important. Your lines don't need to be accurate. In fact, creating such dynamic lines are more interesting. Andi. They look more realistic now for the building at the back. I am shifting to a flat brush on, and I'll paint them as a single unit and join them to the shadows off the building in front . I'm not putting a lot of her fourth and getting the line streets. I'm just trying to finish this body as quickly as I can, because the simplicity off this wash is actually going to complement the entire painting. I used a really what we wash to paint the buildings at the back, and now I'm using the same wash, adding a little bit off Amazon night. Do it to paint the foreground. I have joined the foreground with the buildings in the back. Andi. So our color part is one unit, and the non painted part is another unit. So we have only two units in our painting. It only makes painting more pleasing to look at it. It's complicated in always who as toe how the shadows have been joined together as one, it looks more pleasing and artistic toe of your side, Toe observed. These patterns in any reference, image is another skill altogether. I'm not gonna touch the building on the right background. Much as its simplicity is gonna compliment the other part off the painting, which are more detailed. The part off the painting where there's maximum contrast, bring the viewers attention. That is why we should keep the maximum contrast at a focal point. Viewers. I will roam around the painting, appreciating all the washes Andi deals and reach the 80 off maximum contrast, which is the building in the center left. It has more starkest value at the bottom. 6. Clock Tower - Painting Part 2: guys. The shadows in the foreground is because off the nearby buildings, I think we're done here. The only thing left to do is to paint the people, put on some details, and then we'll use a white gel pin or gosh to do some further details. And I'm going to use my brushes to put on some details, like windows on putting some lines over the roof. Strict century ated you can watch at your own pace are speeder from hair onwards. When I start speaking again, I'll notify on the screen by writing narration on from their own words, you can again listen to men oration by playing the video at the normal speed guys are painting is nearly done on. I'm switching toe a wide help in. You can also use a wide gosh, which in fact gives better results as it's more opaque and we'll add some lines. Some sports windows are some poles and wires to further accentuate and brings realism to a painting. Don't do this step if you're painting hasn't tried completely, and you can also use your dryer toe faster the drying process and then enjoy while adding these little bit off details and then our painting would be finished. - I hope this was something new for you. This is entirely different from what we have ever painted before. Andi, this hasn't been covered in any off my tutorial. Do share your project, Work with me and we'll meet in the next class. 7. Street Scene - Sketching : Hello, guys. Now I'm painting the street scene. Forced. I'm making ah horizontal line at the upper 1/3 part. It is basically the building at the back. You can refer to the thumbnail image that I've put up on the bottom right part off the video. By the way, I am a huge fan off all the street scenes in the world and top it off. There are umbrellas and people like the end off the street. In the painting, we're making closely notice the angles. All the buildings will seem to converse towards the center. As I said it when I was catching the clock tar. I use big shoulder movements while I sketch and I like to stand while I'm sketching. But I wasn't able to do any off the things because off overhead camera, so I made a lot of mistakes on It's a sunny Day, but as soon as a started sketching, clouds came over and kept playing with the lights. And even after all that challenges, I kept sketching because I love to sketch thes city escape. They're quick to do, and it didn't took me more than 10 to 15 minutes to sketch them. I'm attracted to watercolors more than any other medium, because watercolors are known for the fast drying properties, and I don't like spending a lot of time over a single at work. So I like how I can finish thes cityscapes in like an R, and that is maximum time I take as I practiced them, or it takes me around like 45 minutes to finish them. I've lost. Or that's the image. Under the about section off this class, they made off the sketch so that you can easily refer back to it. Take your time and sketches as you feel like and forced. Watch this video where I'll share all the tips and tricks on. Then you can go back. Refer to the thumbnail sketch also on. Do as you feel comfortable. Okay, so I don't say this is one of the easiest cage. The clock tar was much easier than this one. If you look at every angle in the sketch, they are bending or converging a different points. Andi, this is like 21 into 21 centimeter size, so we haven't located the horizon line or anything. We're just painting on the basis off comparing the relative heights Andi going according to her observation. But once you're done with the two main buildings, which is on the right side and the left side in the front, you don't have anything else to paint. That is going to be a challenge. It's really going to be an easy peasy thing after that. By the way, I am using a mechanical pencil off 0.7 millimeter and my surface is a canvas. I have attached my watercolor paper to it, using a masking tape on its inclined at an angle. This is the balcony off second or third story, and one thing that I want you to keep in mind is. And when you paid sorry when you sketch the windows. Ah, keep in mind that the windows which are towards the centre, which are converging towards the centre, which are nearer to center part of the painting are, ah, less broader in size than the one which are nearer to you. So here is something that I really wanted to share with you guys. If you are facing challenges in making this sketch because off all angles, then you can use a pencil citing technique. It's a technique in which you measure the relatives high distances and the angles using your pencil. Andi, I have explained this technique in elaboration. In one off my class, which is urban sketching one, no one can jump right back to their final the class, which sees Spencer citing technique and go through it to get a example of what I'm saying. The focal point in this sketch is the P two that were yet to make on the umbrellas, the shades on the people sitting in the restaurant under the shade. And we're going to make a beautiful part beautiful street that is going to take viewers I directly to that point. And then we look towards the magnificent buildings rising around the focal point. So here's one thing that I always do. So if I plan to do an artwork then and I'm not sure if I'm going to do my best, then I sketch it at least twice or tries. So even if I ruined one off them, I have the mental capacity to work on it again because my sketches already there, I have already prepared to do three sketches, so I advise you to do the same. Prepared to do three sketches off this off this artwork, Andi, this will also help you in approaching these catches in a way that you sketch them quickly . And also, when you have attempted to make a sketch, tries or tries, you are well, practice. And when you start doing the wash is ah, you know your way around. You know, we have where you have to cut around the edges. You know what shapes you have to protect from the water Color washes, and you're really good to go. I'm really bad at protecting the white shapes on guy always ruin them. So I have to be really mentally alert that Oh, now I'm going to paint around the people and I don't have to paint into them on these are the sunlit areas on. I really mess up with these things. The door in the front is much more detail than the windows and doors and the far back on. After this, we just have to work on the building, which is at the far back in the center. And then we'll sketch the shades and the people the rest robot on. Then I'll, I mean the perspective lines to make the street. I hope you're getting to learn lots of things from my videos on Do Share any off your quarries in the discussion Panin, and we'll start talking guys from here onwards, I'll start talking again when we sketch our focal point, that is the umbrellas, the people and the restaurant. So let's meet you there. Till then. You can watch this video at your own pace. - Okay , it's time to make our focal point, so I'll start by sketching the big umbrellas on the shoots. And then I'll walk on the tables and the people so you'll notice. The people here are sitting on day, so there's a little bit change in the forms. Their ship is like hornickel on there, looking towards town. Make clean shapes. Don't make it complicated. Don't add lots off people at this place. Andi. Keep it simple so that you will be able to understand the ships when you start feeling in colors. After this, we focus on the street that is in the foreground and we make some perspective line. Andi will be done after that, so let's meet at the end of the video. - To be able to achieve this result is a reward in itself. Let's praise its beauty for some time and give a pat on your back for being able to do it on. Let's move on to the coloring part. 8. Street Scene - Painting Part 1: Hello, guys. Welcome back in this tutorial, we're going to paint the streetscape. Andi, I'm picking up my flat brush and picking up somewhat thicker consistency of sort of like genuine on. I made a clean stroke in the sky and I'm extending the wash downwards and around the buildings. See how I am changing the direction off the strokes so that I can paint clearly around the building on not going over any edges. In this painting, we're going toe being the shadows, so that doesn't light. Part comes out. It will create maximum contrast on. It looks dreamy to arise. I haven't changed my brush, and I picked Amazon night toe paint on the buildings, adding a bit off Amazon. I do it. I'm going to extend it towards the center, see how they're subtle changes in the washes. And I'm using the edges off my flight brush so that I can make sharp. I just in the wash is going to extend it down slowly. If you have hard about mixing colors on the paper, that is what I always do in all of my paintings. And if I hear a found that I needed a little bit of change in the colors. So I added a drop off Amazon night in the middle of the wash. Now I'm extending this wash again. This is the bead which I am extending down on. Do you really need to have it in orderto have clean, clear washes? If you're getting dry, patchy washes, then you must follow this technique where I tell my paper. Andi, I put enough water so that a beat can be formed. After that, you just need to show the direction. So this bead using your brush, Andi, you'll get a very clean and beautiful wash at the end of two wash. You can just pick up the extra fluid you have got. I'm adding thicker consistency off the paint near the base off the building. As you can see that I have shifted toe. Ah, smaller round brush because I have to paint around the people on the shades. So if you sketch is correct on clean, then you won't be finding ah, lot of troubling painting this part. You can see I have made clear umbrellas. People sitting around a table on you have to ah ward painting in thes shapes. These tiny little shapes. Go slow. Take your time. I am picking up little color at a time and going slow. And I'm also leaving some space that will look like tables, some horizontal spaces. Now I'm mixing some more off, totally genuine to create that shadow. Ah, the back. I want to make it. Uh, mom got treated worse, The top around here. If you've all of my instructions step by step, it isn't that difficult. And most off the work is done. If you have made the sketch as it is, even though the final outcome looks complicated on you may have thought that how I'm gonna achieve God. But really the steps are arranged in such a manner that you won't find them difficult toward named. If you're using colors other than, ah, sort of like genuine Amazon nine and Cascade green. I want you to use them. I want you to experiment with them, make some washes, check how they behave within awash in red in red. Andi if they're more prone to backgrounds like you know, the cauliflower like effects. So you have to check and be family here with how our color reacts on paper. so that when you finally paint you have you are in more control off what the final outcome will look like. Here I am adding some more darkness. It's in distance and I want maximum contrast here. This is basically my focal point and creating maximum contrast. New York Focal point is a very good idea because viewers I will check out the entire painting and finally stop it. This painting, it will keep coming back to this part because we are basically attracted to that spot where there is maximum contrast. Onda, we have the Vitus right and the doctor is dark hair. I hope it's easy to understand and at any time if you feel that you're not clear about any step, please, you can just put your query in the discussion area. Here I am picking up the consistency of sort of like genuine to create our Dr Value. Often, I have attached that homily major off the painting I'm using as reference. So this is not the first time I'm bending this artwork. There was a time, and I used to think that I can't ah, remake a painting again and again, but to when I attended a lot off workshops from other artists. I realized that it's the best thing to do because you get more from here with the color choices. Andi, your strokes improves on making one painting again and again really takes you up there where you realize that there should be a focal point and what makes mistakes you did previously, which you could have avoided on you become better only. So even if you are not ableto do your best the first time. Not in just this tutorial, but any painting you attempt to do. So I would say Just be ready. Ah, what I do is make a lot of sketches in one goal off the different paintings I want to make , so that even if one off them is ruined, my spirits are still high up there. Because next sketches already prepared on dykan, jump right into it and make one more try one more. So prepare to three sketches at a time. Andi, be quick in your approach. Just catch the major shapes. Andi, start putting the washes on details. How Toby done later. That is what you have to keep in mind every time you start painting. Andi. This is the way to simplify the water colors. This is a very watery wash. Obama's the night, and so the light and you can see here Amazon night is more than so. The light and I'm going toe create the shadow in the foreground. Again, the shadow is because off some other buildings, which are not in this painting, which we have not painted in this view. Andi, let's take it slowly in minimal strokes, and I guess it's done. This side looks a little bit off planes while ad two strokes here I'm using watery consistency off, pained, and I'm changing the values to make dynamic shadows You can. Also for back today means that I have attached to the screen that the windows there's a took to make windows so you can see the ah part, which is directly in front. Off us. You can say the left border off the windows are broader than the right one because you can see the inner border off the left part but nor the right part 9. Street Scene - Painting Part 2: you see how important it is to have Ah, good pointed brush in water colors. I use this brush. It is silver velvet brush number eight to make so many strokes. Andi, I can really change the length and the breadth of the stroke by just pressing the brush a little bit harder. It's an old brush and the tip is not as good as new one, but it really works well. You really need to use the right size off the brush for any area. Your painting. It seems really fascinating to use a single brush for the entire painting, but it really challenges you to extreme. Andi, I won't suggest you to do that initially when you're learning, I'm here using already water mix off So delight. Andi, I want you to notice that the windows on the left side are smaller than the windows on the right sides, actually as to go towards the center, the windows, uh, becomes less broader. I'm done here and now I'll shift toe my rigger brush for further details, but do check A few initial area is dry before doing any details above them. Now, using my rigger brush, it's number four from Dell around me, I'll do the details. I'll observe the scene on. I'll keep adding the details where I feel that it's Ah, where I feel that the scene is a bit boring or plain and I'll talk to you again. And when I do that, I'll mention oration on on the screen. Okay, guys. So we're done with painting the people the perspective lines in the foreground. Notice how the distance between the tiles decreases in the foreground as we go far, and the tiles which are near tow us looks broader. Now I have shifted to my wife gel pen. You can also use ah wide quash. If you have on it really gives better results than the white gel pin on. We're going to make some lines. Some details toe Break the community off a flat for sh to create some interest on toe. Add that noise in that most fear, um, by adding some article or horizontal lines and adding some darts at random places. But try not to overdo it, as it's exciting to add these details, but by over doing it, it will soon lose the interest that you have created. Andi entire focus will go to the white detailing instead off the beautiful washes. So in this beautiful streetscape we just painted the shadows on the sunlight area came forward. This is the unique characteristic off watercolor that the non painted area is equally important as the painted area have to find the balance in between both off them. I hope you found this technique unique and exciting. See you again. Bye. 10. Wrapping up!: So this is the final video and we're going to wrap up and I'm removing this masking tape from both off the art books. I like getting such clear, crisp edges. Andi, I always experiment by putting the masking tape on all four sides. Or maybe sometimes only two sides. Ah, this is the first artwork. And this is the 2nd 1 We're going to remove tape from this one. Hey, guys, the chart do like more the streets. Capeman are the one with the clock tar. Do let me know and share your project work also do share you reviews about this class on and tell me what else you would like to learn from me. You can also connect with me at my instagram handle at watercolor dot consultant. I'm very active there, Andi, I provide with the latest updates Iced hangs for all the support you have been providing me on. See you soon