Watercolor Painting Travel Sketching (Russia) - Pen and Ink ESSENTIALS | Watercolour Mentor | Skillshare

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Watercolor Painting Travel Sketching (Russia) - Pen and Ink ESSENTIALS

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

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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

20 Lessons (2h 38m)
    • 1. Introduction

      1:44
    • 2. Materials: Sketchbooks & Paper

      4:14
    • 3. Materials: Brushes & Pens

      3:53
    • 4. Materials: Paint

      1:04
    • 5. Basic Sketching

      4:57
    • 6. Essential Watercolour Techniques

      9:40
    • 7. Values in Watercolour Painting

      10:31
    • 8. Simple Scene: Sky and Earth

      2:23
    • 9. Simple River Landscape

      3:42
    • 10. Simple Night Landscape

      2:51
    • 11. Simple Mountain and Buildings

      4:24
    • 12. Simple Cathedral Landscape

      11:08
    • 13. Simple River & Wall Landscape

      8:57
    • 14. Simple Street Scene: Sidewalk

      11:02
    • 15. Simple Street Scene: Church

      11:43
    • 16. Simple Windmill Scene

      9:54
    • 17. Detailed River Landscape

      17:26
    • 18. Detailed River & Building Scene

      13:34
    • 19. River Scene: Buildings and Figures

      15:30
    • 20. Sunset Scene: River/Buildings

      9:03
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About This Class

This Watercolour Line and Wash course is designed for beginners with a desire to learn the essentials of Line and Wash Watercolours.

In this class, I will show you the FUN and EASY way to enter into the world of watercolours, and turn your holiday photographs or any reference picture into simple, yet beautiful paintings. By the end of this course, you will have a firm understanding of the processes and techniques of turning any photograph into a pen and wash painting!

This unique class contains over 10 landscape painting demonstrations, based on photographs taken in the beautiful Russian town of Suzdal. I will walk you through how to complete each painting step by step!

In this Watercolour Painting - Pen and Wash Sketching Techniques course, I will cover basics such as:

  • Materials - what paints, paper, brushes and pens you will need
  • The correct use of values in painting
  • How to sketch a subject easily by simplifying a landscape into basic shapes
  • Using essential watercolour techniques such as wet-in-wet and wet-on-dry

Below are some landscapes that we will paint together:

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Introduction Music Attribution Notice:

Frozen Mountains by Alexander Nakarada | https://www.serpentsoundstudios.com
Music promoted by https://www.free-stock-music.com
Attribution 4.0 International (CC BY 4.0)
https://creativecommons.org/licenses/by/4.0/

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Watercolour Mentor

Art Classes, Mentoring & Inspiration!

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Transcripts

1. Introduction: I'm Derek from watercolor mentor and the part-time artist and teacher. And I'm here to guide you through your first steps in watercolor. Now, there's so many things that I wish someone had walked me through when I first started painting watercolors. And I want to share those essential tips and skills with you so that by the end of this course, I promise you'll be able to shocks and beautiful paintings and your friends and family. Now, this class is aimed towards beginners with over 12 Russian themes painting demonstrations, which I'll guide you through step-by-step. In this beginner's class, I'll be going through all the basics of Penn and war sketching to get you started straightaway, I'll talk about what materials you name, your options and which ones that I use and recommend. If you have a pen, some watercolor paints and paper, then you're pretty much ready to go. I'll touch on sketching with the pen and explained to me the most important begin as topic, in my opinion of understanding tone and value, I'll be demonstrating essential watercolor techniques that you can use over and over again for any painting. And don't forget, this 12 included demonstrations in this class, which I'll walk you through all the way. So join me in this class on really exotic. It's dotted with you. And just to show how easy it is to create your own beautiful paintings that you can be proud of. 2. Materials: Sketchbooks & Paper: I want to talk a bit about materials and what you need for this course. So firstly, you need a sketchbook of some sort. Now I've got a lot of different sketch books and I have experimented with many. But when you're starting out, you're not going to need anything that's super pricy, Just pop down to your local store. And the most important thing is the way to the paper. Ok, so if you can find some paper, watercolor paper, that's the most ideal. The cotton watercolor paper, a 100% cotton watercolor paper is the most expensive. And maybe out of your price range. And if that so you can always just get a normal watercolors, sketchpad or sketchbook. You can also get watercolor paper that's not a 100% cotton. So that might be a better option for you. I use a combination of cotton and non Cause in sketchbooks. And I've found that they both work well in their own right, but with the cotton sketchbooks and cotton watercolor paper, The main thing is that it performs a lot better, so the colors do abroad, more vibrant on them. And you can also add more layers and scrub away at the paper without it, without damaging the paper. So it's just due to how it's manufactured and you've got some sizing that's on the paper, which actually helps to make some of the colors appear more vibrant and also helps with the drawing of the paper as well. So the paints or that it doesn't dry too quickly. So this one that I have here is basically just a just a normal sketchbook. It's not even, it doesn't state it. It's watercolors. But I've managed to get some good mileage out of it. This only cost me about $2. I think I got this in Singapore for a couple of dollars at an art shop. And it's pretty good, pretty good value. And for pen and wash that so you really need good another one here. So this one here is also a normal sketchbook that I picked up in the shelter weight is about one hundred twenty one hundred twenty to 160 GSM. So it's very light, very light paper, very similar to the smallest sketchbook I had before. And for pen and wash, you can still come up with some pretty nice-looking paintings in sketches. This one here is my Stillman and burn sketchbook. And it's basically in, it's not cotton, but it has some nice sizing and the paper qualities. So this is something I painted, I think, 2.53 years ago, and it's still looking quite vibrant. Little quiet, there's been any change. It's great to do little sketches of God, things like this as well. You can do largest sketches and paintings. This here is a cotton sketchbook. So one of the differences you notice is that with the wet on wet effects, especially you can, it really goes a long way when you're using cotton paper. The paper just stays wet for longer and the colors just spread out very nice and evenly. And, you know, I've got a few other sketches here that I've done. These ones here, which I'm going to go through later at the end of the tutorial. And you get a lot of bright colors just due to the sizing of the paper and the quality of the paper as well. So just a few things to keep in mind when you're getting a sketchbook. 3. Materials: Brushes & Pens: So when you look at brushes, there's a lot of options out there. I'm just going to go through the main ones that I use. And these are some mop brushes and the brushes that are used to cover large sections of the paper. So if I'm doing a sky wash or a large foreground, so we need a bigger brush second, hold more water. Any of these will do so. I've got some synthetic flat brushes here. I've got a normal Mach brush as well as a calligraphy brush. So combination of synthetic and non synthetic and brushes, but it's not a huge deal. I find I use some of these flat brushes are little bit more actually with landscapes these days. Smaller brushes. You want to make sure that you've got a couple of round brushes, smaller round brushes like these. So that's a number four here. And I think that's an, that's a number eight. And a couple of these brushes which I use for just affects. Basically this is an old brush where the bristles have worn down on top, but it just allows me to really do some, some interesting dry brush affects picking up some, some paint and just creating some leaves and texture like Effects. And this fan brush is also fantastic, which I've been using a lot recently for creating grass like Effects and just shrubs that are growing in little areas and stuff like that. So that's really only need from the bros side of things. In terms of payments. There is a really large choice as well, and I'll go through some of the ones that I have now tell you which one that I would recommend which ones. So over this side I've got a couple of fountain pens. These actually have water soluble ink in them. These, this one here is just a normal black ink pen with a ballpoint. And this one here, these ones here, some felt-tip pigment Linus. So if you're going to get any of them, I would suggest to get some of these felt tip ones. And the reason why I say that is with the ball point pens, if you push down too hard, sometimes you can damage the paper or depending on what you have, you just have to be careful. With these felt-tip pens. They come in different sizes as well. This one goes from 0.8 down to 0.05 or some fine detailing. You don't need a whole set like this. In fact, when I started off, I just started with 0.51 like that. And you can get most of the data. Not all of the data are done perfectly fine with that. Even if you have a ballpoint pen like that, that's fine as long as it's one of those liquid ink pens and not a normal ballpoint pen where you really have to push hard to get the encount. This is a calligraphy dip pen and probably not something that you would use on a daily basis with watercolor paintings, but I've been experimenting a bit with these as well. So if you have one of these on hand, you can even try it out. But the important thing to remember is with some of these bounds and then eat pens, the ink that you uses, often water-soluble. And if you add water to the mix later with the water colors, it's all gonna run and you're just gonna get quite messy. So unless you're looking for that type of effect, and I know some artists do paint with water soluble ink. I'll just be very mindful with that and look for supplies or pens that have permanent ink written on them. 4. Materials: Paint: In terms of the tanks, I have a whole bunch of pallets, but I'm only going to go through this one that I have here. So I actually bought my own paints in tubes and I squeeze them out onto the palette. There's a lot here. But really when you think about it, when I think about it, only use about six colors consistently. So I've got a couple of yellows here of a read of God to different blues. So as long as you have some artists, great watercolors, or if you have some students, student or artist grade watercolors would do perfectly fine. If you don't have those, you can try some of the cheaper ones. But I find that those, they can be be chalky. Always try to stick with student or artist grade paints. You really need to buy a primaries if you get a red, yellow, and blue, that's really going to cover you for almost every painting. 5. Basic Sketching: So I wanna talk a little bit about sketching, because it's important when you're doing pen and wash as watercolors, your pens always gonna show through the marks that you make. So it's going to show it to you. So you want to have something that's not, not photorealistic or anything like that at all, but just representative of what you have. And it's about just approaching it casually, but also trying to divide that subject into smaller portions, things that are easy to draw. So if you look at this scene, looks quite complex. You know, you've got a river running down the front. You've got this building in the middle with all these little ornamental things running up the top in interesting looking dome, you've got buildings in the back. So what I like to do is try to reduce this down into basic components. So this is going to make it a lot easier for you to start out first by just getting a square drawn up like that. And I'm going to just look at where the horizon line is and where the sky meets the land, and it's roughly midway. So we're just going to draw that in like that. And just add the front here where the river is. I'm going to create a bit of that grass there and just run this every three like that. And above that sort of near to where the horizon line is. You have this little hill that just rises up, just almost to where the horizon line is, and then comes down and retreats to the side like that. And this is where the main building is at. So what we can do is we can look at this building and we could say, well, what is it? Well, it's a, it's a square that has a triangle on top and is a circular dome, another circle on top. And when you look at it in that way, it becomes a lot easier to draw. So let's start out with the base first. So you've got this kind of squish EIP, the rectangular window, triangle roof on top. You've got this and a rectangle that's behind the triangle there. And then you've got this cutoff triangle on top like that. And on top of that you've got square with a few windows here like that. And you've got a dome on top, which is basically a semicircle. So you can draw that on. And there's a couple of little lines running down the middle of it. And on top of that you've got another square and a couple of circles. You know, you kinda get my drift with that. It's a very break. Break the subject down to just basic components like this and it becomes a lot easier to draw. And the way you hold your pen as well, so it's kinda holding in a little bit too close, but normally you want to hold it around the middle area or nearly end just to loosen up a little bit with your drawing. So we've got this is little house building quite a bit building near the back, so we can draw that one in like that. And, you know, there's another building behind there. There's one here that is a triangle. And then another move we go, we've got some shrubs here. So I'm not going to draw every little every little house in and some shrubs and little trees there. They see areas a bit darker here. And you've got a very basic sketch. So it doesn't look really too detailed. But for pen and wash, remember you're not trying to come up with a masterpiece and you can spend a lot of time drawing it is as well. It just depends on your style than I depending on my mood as well. I sometimes just wanna pay something really simply and just have fun with it. Are not worried about is this precise or is this looking the way that it should? So that's the main thing to keep in mind. 6. Essential Watercolour Techniques: Now before we get started into any actual landscape painting, there's a bunch of techniques that I want you to try out and keep in mind before you actually start. And these are really important techniques which are used in all my paintings. And you really find it a lot easier if you start learning how to use these to begin with. So the first one I want to go through is a flat wash. A flat washes essentially when you use the same color of the same consistency just to get one smooth layer of color. So I've just mixed up a bit of ocean marine blue here, and I'll show you what that looks like. We should add it, it just make it a bit darker. And I'm carrying this same layer of paint all the way down. And you can tidy up the edges a little bit like this. But generally, you've just got one turn all the way through. Now with the graded wash. I'll give you one example. The first example we're going to start out with dark blue on the top, just as it was in the first wash. And what we're gonna do now is I'm going to add a bit of water to the mix. And by adding more water, you're gonna make that blue bit lighter and join it on the top area. And again, add more water like that. So you get this graded appearance here where there's a gradient going from Docker. So lighter. And you tend to use this one when you're doing skies. Because normally when you're doing landscapes, you wanna make the top of the painting a lot darker and fade down to a lot of time. And as you move down the page, in this other graded wash here, what I'm gonna do is use two colors. So for instance, we might start off with the blue again, starting out with the dark blue. And just and that color on like this. And one of them I wanna do is just blend that with some yellow. So I'll pick up a bit of yellow and join that on. So now you have a bit of a transition between the blue and the yellow. And some of it's mixed in, mix now into the green. In the third graded wash. What I'm gonna do is gonna use three different colors. So you might start out with the blue and darker blue on top. Then you're going to fade that down towards a lighter blue by adding more water. Then what I'm gonna do is just add a third color, which I'm going to actually use red. And just connect that on. Like that. You get this transition. We have three different tones and three different colors. Really good. A dark blue, light blue, and a red. And you might use this one. These two actually you use these two when you doing skies and landscapes, where you just want to imply the blue mixing in with a bit of a sunset effect is for more techniques I'll go through is wet and dry. And with this one here, as the name implies, you are getting color, mixing it with water, just adding it onto the paper like that. So you will notice the edges are very sharp. And that's good for defining shapes. If you want to get buildings to stick out and wet and wet. Another technique which is really important to ways to approach this. In the first way, we can just add on some clean water to the page. This is kind of blue-ish. But pretend that it's completely clear. And we want to get that paper pretty, pretty damp. And what we can do now is pick up some pigment, making sure that it's a thicker mix of pigment than what we've got then the water that we have on the page. And we can just add in some shapes. So like this and just let it melting to the paper. So you can already see the difference between the wet and wet and wet and dry with these clouds or bluish shapes that I've done. The edges are very undefined and soft, whereas here you get a lot of hard edges. The second wedding wet is when you're starting out with the color to begin with. So instead of using just clean water, we may go with say, a video of orange soil. Mix that up like that. And I'm just going to color this all in pretty saturated. Third, let it sit for a little while until the paper just appeased, damp loses a bit of that sheen on it. Or you can go and now it just depends the earlier you go in, the more the color was spread once he added in. So I'm going to add in a bit of gray, just picking up all the stuff that's left over my palate. So thicker grey. We need to put in a thicker paint into this mix and just drop it in like that. And this effect is useful when you're trying to say I didn't some clouds on top of another wash, another, another wit wash of color so that it all dries in the same layer. Dry brush is a technique that I use when I'm trying to get a bit of additional detail on the end or just indicate some strands of grass. Any kind of It's shrubs, tree branches, that kinda thing. It's really useful. So the idea here is to get a very thick layer of paint. Your brush, completely saturated with this paint, but dried off on a towel. And then just go in. And you get these sort of effects here where the paint skips, brush skips a little bit of the white of the paper is, you can see a bit of the white paper. It shows up a lot better when your using watercolor paper that is rough or even cold press paper, this paper is very smooth so it's hard to see. But those are essentially the last, the techniques that I use. And I'll go through in a few sketches with you all now to show you all this in action. 7. Values in Watercolour Painting: So I thought I would do a video on values and tone because it's one of the things that is very, very important when you're using any kind of medium. Especially when you're painting with watercolor, with things like acrylic and oil. A lot of the time you add black or white to Latino dopant atone. But with watercolor, if you want to make a certain color lottery Dhaka, you have to vary the amount of water that's inside your mix. So I'm gonna go through a quick demonstration here on just some of the different values that we can get out of the same color. So I'm gonna start off actually with a bit of glue and getting that pretty doc. Okay. And I'm gonna start out here on the side of the page, making it pretty much as dark as I can get it. And k like that. What I'm gonna do, I'm just going to add some water to that mix now and move it across like that. More water. Starting to just pool a little bit. Let me just see if I can drag this across more. Adding more water. As we go. As near to the end. Here. It's almost the white of the paper just showing through, but it's still a little bit of a I'm just kidding this middle section. Bringing that across. So I'm doing this essentially just by varying the amount of water that I've got in my brush. I'll show this to you again in these smallest squares. And the bottom. We're going to get this first one, pretty dark like that. I'm going to add some water and get the second one in. Tanaka. Just got too much water in the brush. So that's the second one. Probably lose a little bit Dhaka. And we'll try to go a lotta, even just a little bit, lots and lots of still. Just doc and bid and this one as well. So you want this value to be in between this one and this one. This is a great exercise for you to do in order to just practice getting some of those values in K. And the last square on the rides almost is just gonna be almost just water with a bit of a bluish tint to it like that. K like that. I can dock and this one looks better. And this isn't the only way that you can practice doing your values. Uh, one of the big things that I like to do is just looking at pictures and practicing, doing some sketches of those pictures and just trying to pay attention, particular attention to whether things are lotto or Dhaka. So if we've got this image that we're looking at here, and I'm just gonna do a quick demo of that. You'll notice compared to the trees and of stuff at the bottom here, the sky is really light. So you've got a lot of this stuff that's just completely as dark as you can get it. And then you've got the sun here, which is the lightest part of the painting, and pretty much the sky around it. So when you doing this painting, and I guess when you're looking at the later tutorials and the landscapes that I, that I ended up painting. When I talk about lighter and Dato or if I talk about tonal values, going Lodge or Dhaka, just keep in mind this little exercise that I've shown you here. And how I would approach this first is I'll go in and grab a bit of yellow. Scars are kind of pinky. Yellow. The bid of blue on top as well. But you wanna go in very lively like that. So you wouldn't pick up a lot of red and just dabbing. That's the wrong, that's the wrong value bit to dock. So you can spread that out like these and add a bit of yellow here with the sun is just burnt out that RED landscape just to create that sky. And at the top, it's, it's also pretty lot, but there's a bluish tinge to it. So pick up a little bit of blue and just mix that in. And some colors naturally Dhaka then and others. So blue, that's going to have a naturally dock at tone to it. And value. If you use the same concentration of yellow, some of the reds for, for instance, no thing you can do. You can even lift out of beautiful paint like that. White paper. That's a bit too much. You get the idea. Some clouds that you can try to lift out like this to indicate as well. And we're gonna do this part at the bottom here, which is just the sunlit though the backlit buildings. Very dark color. So with that, I'm going to mix up blue, red, and yellow together. But actually more blue. Wanna query cool color. And with that color, I'm now going to paint the series C, a, C, Let's not, not dark enough. You'd want it almost the doc has value. You can get like that. Dhaka yet. Get some really good docs by mixing with ultramarine blue swill. Just mixing your blue is brown, or mixing you three primaries together. That works as well. So it's pretty dark and reflecting the right values now. So if we take a look at, say, this area here, this would fall into this value. So the sky, that value or even some, maybe some parts you use, for example, the spirit of the orange that could fall into this min value here. And then you've got this darker section at the bottom here, which would fall into that section of the value scale and even this section here. So that's creating cried a big contrast. And if you, if you use two tones to values, when I say tone and values on speaking are the same thing. From opposite ends of the spectrum. Using really make your subject popular, pop out a lot more. But for balance, watercolor painting, you want to have a mixture of all these different kinds. So always, when you're looking at a reference picture of any sort, just look at what value, what tone that particular color is. And remember just what I've said here. And play around with your mixing as well. So mixed different values up and practice to see how you can get if you want to create this value, for example, practice beforehand. This is one of the most important things to practice in your painting, especially in watercolors, because having a range of all these tones, that's what's going to make your paintings had that three-dimensional and look and have that depth to it. Because if you start painting everything in a limited range of tones, it's gonna just look a bit boring. 8. Simple Scene: Sky and Earth: First little simple sketch here. We've got a landscape with some Sky and Earth. So firstly, I'm going to add in the sky and I'm mixing up just some bluish paint here going in. It's stronger at the top, like this. And as I move down the page, I'm going to add more water to form a gradient. Such as keep carrying that down the page like this, and adding more water on each occasion. Like that. Now we've got some of the land here. Two ways you can do what? You can wait until these top layer is dry, or you can just simply go in. And I'm going to do that. If you go in when it's completely dry, then you get a nice crisp edge. If you go in now, you might get some fairy bits near the top. And depending on what you're trying to do, that can be a good thing or not. So if you want to indicate some shrubs in that kind of thing, so I'm using some set grain now, just the horizon. Just painting that in pretty straightforward like that. And as I move down the page on adding in some around here, this is Sienna. Moving further down the page, I'm going to add a bit of blue to this burnt sienna. Just to make it Dhaka in the foreground. Which is important to do to indicate that it's closer. So the fuel a cut. And that's a very simple landscape. To joy. 9. Simple River Landscape: And what I'm gonna do is show you something that's a bit more complicated. And this is a river kind of scene. So I'm gonna start off making the sky wash again just with some blue on the top. Going and stronger at the top. And like the other one that we did before, adding water to the mix and bringing that wash down the page like that. So that when you hit the horizon line is quite light there. Now what I'm gonna do is I'm going to add grain to the areas of grass around the river like this. All in the same time. And I'm going to use a bit of wet on wet is picking up a bit of this purple color. It's a bit too. Would actually just grab some of these, just doc in it near the front. And the same thing I'm gonna do, the same thing on the left-hand side. So putting in these green set, green, carrying that all the way down. And at the front. We can add in some dogs, birds, you can use burnt sienna, you can use purple. Doesn't really matter. But it's essential that you get just a bit of darkness near the front indicates that it is closer to the viewer. Now what you can do is picking up a light blue. So water that down a bit. We're going to add in the river. And you can let some of it mix if you want. Big deal. Carry that all the way down to the front. Make it a bit dark and near the front as well. And the finishing touch, you will notice this and shrubs and stuff like that at the back. So I'm going to go in adding little bit of darkness in the back. This is just going to show some contrast. And I've got some hope because green mixing actually. But sienna, just using a flat brush, I'm just adding it in like this. K and this is weight on dry. And here there's a bit of wit on width going on. And that's another very simple one. We can give that a dry off again. 10. Simple Night Landscape: Moving on to this third sketch now, very quick painting. I'm gonna try starting out with a wash of blue at the top and fading that into a warmer color. So let's start off with cobalt blue cone quite strong. And just adding some water. That courage it to move downwards. And Rod underneath, I'm going to add some yellow ochre. See if it turns out green. Rot. And Monad some more sika paint on the top actually like this. And what I'm gonna do now is I'm gonna do the foreground. Starting out with some of the ClO or RCA in the back. Like this and fading that she would dock a colony of the front. Maybe the scram x needs to be big dogs. And I'm trying to use the least amount of brushstrokes possible. That's gonna keep your painting and can quiet, clean and crisp. This is almost like a night scene. So we'll do the tree by getting a, I'm gonna get a purplish color. So let's mix some ultra Marine with red. And I'm going to start off with top of the tree, very loosely like that. And just drawing now the trunk. And that's another simple one. 11. Simple Mountain and Buildings: This is one of the churches in sous del. Gonna very basic sketch. It's the same as always. Start off with the sky. Mixing also some read into there. And just carry that on downwards. And I'm really going to water that down. Between mirth down the page. Blue at some more BlueJ, cool it down like that. And I'm I want to add in some clouds while the paint is still wet. So mixing up viewed of gray and just indicating some dark areas. My brush clouds bigger on top and make some little ones at the bottom. And looks alright. Moving further down, no, I'm gonna grab some set grain and cover all this area of the grass and the Hughes. This bits draw it a bit funny and I want to quickly connected up for draws. Continue on with this greens set grain moving all the way down to the bottom of the page. And it's true brought for the sky. So what we're gonna do is add in some of this purple mix here and they got some here that we can dropping there. And then also in the foreground here, like that. And mixing up a bit of this orange. No. Just to get in some of these just a warmer color. I really like that. And we can going with a lot, wash a blue or cooler color just beneath, cover a bit of that wide like that. And we're just going to pretend that there's a lot source, that the light source is coming from the left. And even add a bit of a shutter running like that. Now the thing we can do is add in some trees here, we can define them a bit more. So that's relatively dry now. So I'm going to use some Dhaka grain and just define these trees would be some shrubs at a beat here. Now the shrub trunk, like these videos, shadow, like this. Thanks, it shatters in. They have a very simple, very simple landscape. 12. Simple Cathedral Landscape: So I thought this subject was quite interesting. The shadows being cast across the sides of the buildings and just having this really bright foreground as well. So I thought I'll give this one a. And with all these, a lot of these landscapes that I'm showing you now. I've never really painted them for maybe a little sketch here or there, but especially with subjects like these and a lot of the pictures in the previous landscapes. And if this would have been my first time attempting it and using, I guess the experience that I've had in just looking at tones and the sketching and just sold a practice. You'll be able to apply the same principles to any landscape painting that you do. So firstly, Again, let's start off with the sky. Some blue. And we'll go in that image, just grab a bigger brush and going with them very light. Wash, cutting around buildings as well. And some of these trees to the side and go. That's the scott Don, I want to add in just a little bit more darkness to the top though. And here, let me just try to blend the scene that we see if I can indicate some class like that. And next bit is the ground. Let's get in that green like this. Because lot grain is set, grain is usual. And some of those trees in the back to just blend that Aeolian. Get it all in one go or get to the front. I'm just going to add in a bit of thes Sienna to try to dock and it up a bit k. Now with the building, I'm gonna start off actually by using a cooler color. Cooler gray. This mix that's lifted off the pallet. And we're gonna make this building Dhaka, on the left-hand side. So we color it all in here. Following the reference o, that shadow of the entrance. And we'll do the same thing for this building here. So let's have a look. We've got a shutter that's cost TO joining on. So these shutter here is actually part of this whole building. And this sought of the building to be done. Getting the reverse as well. We Sienna, beautiful red and sienna mixed in with each other. Like that guy. Same for this one. Here. There is a building to the right side and I don't want it to be too much of a focus. Just kinda try to color that in the end that will help to contrasted against the whiteness of this building to its left. Ok, right. Now, time to do some of these Dhaka trees. Very important because that's going to help these buildings to pop out a bit more. Grabbing some set grain that's mixed that with cobalt blue, dark green. And let's start adding some shapes and reshapes. Yeah. Leave some of that initial green in there and lots of green. And you get closer to the building, this is what you can do. Make the tree Dhaka. And that's going to help it. It's going to help the building pop out a bit. And even at this corner edge here, get that. For contrast. K and test stick. And a bit more detail to the shrubs in the foreground. Spending too much time at all. Going to make the shadow to the left direction. Some blue K. There is actually a tree on the Saad if this building growing, going to edit it. And hopefully that also emphasizes this building a bit more sexually joint onto this building. Here. Show doc and up and some darkness to the base of these buildings like that. And I'm almost done. I'll say I'm gonna do is just Dogen tops here. Just hope it stand out more. It's here. And that's looking. Finish to me. Often the distance. Oops. There we go. 13. Simple River & Wall Landscape: So at this landscape here is based on a picture I took on the side of a monastery, actually save your monastery of St. YOU theme is something that's how you say it. So what we'll do is we're going to start off again with the sky. And it's going to bring up my reference picture. Okay? So I'm gonna go with again just a blue, cobalt blue. And what actually I'm not much, just stick with ultramarine. Get some of that in and get to the top. Adding water like that, smooth it out as well, and cut around. The buildings are just going to add in a bit more pigment to the talk. Okay? Now what I'm gonna do is actually I'll, I'll get into some of this river while I've got the blue and it doesn't turn into a green. So we'll get that in very quickly like that. And I'm going to go pick up some set green again. Truck that in like this. And Whew pretty much cover the whole area in nice the buildings around this river to bidder blending is okay. See indicating some trees at the back. Join that all up. There is a path that's running PaaS the buildings silver rod and just pick up a bit of yellow and indicate that here. Okay. And all I'm going to try to get some warmth into these buildings. This is almost ready around some sienna. Okay, that looks about right. And we'll cover this whole building blended in with the ground. And I'm gonna do the same moving up to this side of the building. And I'm actually going to make it a lot. So let me just pick up more yellow. As we move to the back. Just lots in it a bit more. Like good adding tops. These buildings. And we'll let that melt in. So let's give this a draw. And I'm going to proceed system putting in a bit more detail to the wall and especially the docs. So Anita, mix myself up. Very dark color. Notary doc. Move a cool blue, grayish blue. And we'll go in. So this wall here and do this all in one go. Like that. Seems to be there as well, that's catching. And then the shadow on the ground. Get the swimming properly like that. And while I'm at it, just doc in the sod. It please notice doc is the wall behind it. Let's see if we can get in a bit of the detail here. Indications. Really. Darkness on the knees. Yeah. And I'm gonna go and get some of the screen and start adding some more detail. And shrubs. In the mid route. Things. Here. It's a fan brush and just want to indicate some grass and things like that. Distance. Sometimes you get little highlights on the paper where you accidentally skip a bit of the paint or something like that and you can turn those into, into birds. There we go. And faunal dry off. 14. Simple Street Scene: Sidewalk: Now this one here, this scene is a street scene actually with the church in the background. So let's get started with a bit of ultramarine and the sky coming in stronger on top. And as I move down the page, just adding in small water. Remembering to cut around these buildings and some of these trees as well. They're important to do that. Because especially when you're using Sina paper like this. And you know, even in normal paper, if you do want to get the right value and you cover everything in another color to begin with, it's very hard to, to get the right balance later on. Making short slot near the bottom. That's the main thing I want to completion. And picking up some sap green again and just getting in some of these leaves to the side. And worried if it touches the sky a little bit and mixes in. Your only make it look natural or unnatural actually. And there's some grass heel on the ground which I'll getInt. And even the trees in the back here. We should green leaves, the sum leaves and stuff coming out behind this fence, this area two. And I'm just going to add some warmth to the ground, as well as this fence. And I'm going to go over it after in a cooler color. Just want to get this on the cursor. Like that. And Kay, and the light sources coming in from the right. So we have to remember that when we're doing the buildings. So let's get started on this top one there. I'm going to add in a bit of warmth as well to the building site. This one is a little bit of loss like that. And on these tree at these roofs were going to cool it down, make them just a bit darker. And this one to lift off this bit of Bank B, very much there. And we'll start now on getting a bit of the detail in the buildings. Come down. Remember that the light source is coming from the right. So you want to leave the right side or the building illuminated. Moving down, like that. Gets to the base. Just going to end it there. And follow the same pattern here. Like that. And this one hears well, chimney on this building, casting a shadow. And this building to the vacuum would be taka. Okay. So let's now getting some of the dark colors for the fence. And I'm again going to go in with blue like that, making sure that I'm leaving enough of the lots of colors on top there, so I don't wanna go too high. That's getting a bit of this wall that leaves some bits of lights on it. K. That looks all right. To me. Just a bit darker, needs to be some of these area. Will. And I'm going to try to get in. The tree trunk is well mixed up a bit of burnt sienna. And I'm just going over some of these pen reinforcing the trunk is actually another tree running out to the side. Here. I too much attention to. But what's important is gonna be the shutters that cost. So make sure that you bring that shadow in coming towards to the left. It's going to be dark enough. And you've also got some figures here which innate to join on. Or a guy closer to the front. And then a couple at the back. Be better if I use a round brush, smaller round brush. Join, join these persons legs up with the shedder. Same with this person here, with the shadow from the tree so that it just looks to be connected. And you've got the shadow of this person to the left of b two. And you've got ABA, shadows being cast or other objects that outside of the scene. Like that. Shadow travels up all a bit like that. This one need to dock and some of these trees here, but just where they pop out and just indicate small branches. And we'll do that. And same with this one, sigma 1s in the background you to one of the leaf some of that previous screen on their looks. Looks quite nice like that. Just the variation. Now I can add more detail to the fence. Just darken it up. Certain areas is connections and such. K. And now for the church, just going to add more darkness to the Windows. Lu areas that I've missed out like that. And another thing you can do is add some lines onto the roof of the house as well. Doesn't need to do it. But that's essentially it. You know, you can just add some birds in the background like that. Really doesn't have to take off. 15. Simple Street Scene: Church: So we're gonna get started in a more complex landscape. This is part of the Susto Kremlin and the church that's next door. Clue to the reference picture that's going to help you to get the sketch done. Don't spend all down it though. Remember it's just a sketch. So first I'm going to approach the sky with a wash of cobalt blue. So that start out a bit darker and talk like this. Just mix water into it, carry that wash down. And across to this side is o thing to remember is you're going to need to cut around these buildings. This is tree heres will leave too. Just like this. Probably use a smaller flat brush now. Oops. A little bit of leftover paint on there. Let's bring this wash all the way down. The sizing on this paper is a little bit, a little bit strange, the paints almost resisting. So bring that down like that and just going to add a bit more paint on top here. And this needs to be a little bit Dhaka. And you have the top and cut around the buildings here. Like this. Don't worry about getting it exact. Leave enough wise on their K. And what I'm gonna do as well is getting some of the foreground, the mean in foreground. With that, I'm just going to mix up a bit of gray, a warmer gray actually. So we'll add some more red and yellow into this mix like that. And just go through like this. Normally the paper doesn't do this, it's a bit so that we get, sometimes you get some funny shapes that are just a bit off. Ca compliant are only paid $2 for this sketchbook. So that's almost the dock is part of the painting k. What is the dock as part of the painting? The ground and maybe some of these areas at the BEC. But what I'm gonna do is try to getting these building too. Because a bit of the gray. And actually, I feel like it needs some yellow, uh, fooled a very light yellow facade of this building, especially. Just bring that washed down. Let's include these buildings at the back as quote, these little spots not show what they called, Should Know. And just bring that washed down the foreground. Get this part of the building in as well. And we've got this one here, two, k. I'm going to try to add in some of this building at the back. But firstly, we just going to add in the new tree there. Some trees sticking out from the back. Like that. Building needs to be warm down a bit. So going back to get some more yellow and just adding that on. And I'll go over the top of that lighter cooler wash actually on top of it. Just gonna paint that in grey. That blend slightly. And can I go and add in a little bit of detail and shadows coming across to this side here. Okay. So I'm gonna give that a quick dry off. So final step, we're just going to add in the dock areas and we've got some HEA here on the gate slash wall of the Kremlin. And then you've got some of these trees in some of the building as well. This needs to be darker. So I'm gonna start with the right-hand side and get myself a mixture of cool mixture. Here. Gray and Let's go get that one through. So I'm gonna start off like this. Be too dark. Leave a bit of light on the building. Okay. This side here as well, which is in the dark. And some of this building here, this little tower. Just get the dark scene more on the right-hand side of the building. Because the left-hand side, that's where the light is illuminating. So we've got a light source coming in, are coming in from the left. And let's try to getting a little bit of detail. On the top of this building here has its loops and you go you leave a bit of white on the left sides? Yes. Okay. And one more thing I wanna do is just this Ruth is darker on the top here. And just add in some detail there. And you can really keep on going, but I think that's enough for me. And moving on to this left side here, we're gonna go and define this tau a bit more like that. And I know this is darker, so we'll get that in also underneath shadows. And let's try to get in some dark edge areas of the tree. So I'll do a darker one here. And that's by mixing beat more blue with the grain. And just adding some darkness on this tree here. And there are some shrubs on the front of this building. So let's try to get some of those in. Just indicate with the road. You can add in some little directional lines like these just indicate don't need to spend too much time on that at all. And last thing I'll do is just dark and these windows bit something down here. You can spend more and more and more time really just adding as much detail as you want. But the moment it starts looking good, that's when I tried to stop myself. That needs to be dark in this tree as well. So just on the running signed a lot of the time, not even looking at what the picture is. I'm just looking at what areas are light or dark? Just the tides and taking a step back every now and then to have a look. So let's give this dry. And that's not a bad little sketch. 16. Simple Windmill Scene: So this one here is a little village that I visited was a reconstructed village in Susto. All the wooden buildings. And people used to live in. And they even had couple of windmills here. So let's get in straight away with the sky. For this one, I'm going to make the sky quite lot. And let me see if we can pick up a bit. Cerulean Blue order I'm using is just pretty filthy at the moment. Oh, there we go. And get that. Coming down. Here. Sees and cutting around some of these buildings. Moving so that down the page here. Just doc at the top. I'm going to harp it down a little bit. Okay. Next thing I'm gonna do is get in some of these trace, Sap Green. I'm exaggerating the green on them and also the size of these trees. Mixing going on with the scar. That's good thing. Somewhere else. Hears Well, I'm trying to getting some indications of some trees. There's a shrub here. And of course the foreground, the same grain. And as you head more towards the foreground, just doc in that green up a little bit with some blue or gray like that. Maybe go. And that's your first wash. And what we can start doing as well as just getting some of the colors in from the windmill in this little house. I'm gonna go with burnt sienna and a bit of red and I've got some yellow as well around. Just go back to the palate and just pick up a little bit of yellow and mix that in. There is a windmill in the BEC section here too, which I'll get in. And let's see if I can get more pure yellow. You can skip this windmill and always adjusting the amount of water that's on my brush as well. That's why I keep going back to my palette. And also the little towel that I have. Because if there's too much water and it starts pooling everywhere, it's gonna just gonna make a mess. See Nate enough to make sure you can cover the shape, but not too much. So that's your first wash. Give it a dry clip, the co-owner of it, starting to walk a bit. So this final step here, I am just going to add in the dark areas of these buildings. Just grab one of my realm brushes and we're mixing a bit of blue and red. Maybe some brown here on the side. So we'll go straight into it. Saunders windmill, some light. It's caught on. So that preserve that bringing this whole shaped further to the ground. That k on top of that we knew darkness. More detail so that we know here. And I'm going to see if I can draw it on some trees in the background. Just like this, going up to it's overlapping with the green and passing some shadows. Shares as to be coming to the right. Surely. These house here. There's a lot that's being caught in this section. Head on a bit more blue. Sought. And dock at the base. Here with a roof ends. Aka heats the ground. Little spots there. Shadow was well, small darkness to areas here. And little indications of detail. And I'm going to add an imaginary actually, before I do that, I need to do this little windmill to the side, leaves the hands and don't want to, it's in the background, so I don't want to put too much detail into it. Imaginary shutter running from left to right hand side. What's not really imaginary, but it's a tree that's casting that shutter. It more blue in a Dhaka. And one mole coming across here. Some in the background. But the size maybe some trees that aren't really there. But I'm hoping that will just help this building to this windmill to pump out a bit more like that. 17. Detailed River Landscape : So I'm starting off with this picture on the top right-hand corner. What I'm gonna do first is just decide exactly what kinda saying I wanna portray. Really for this one on thinking, you know, I do want to keep the blue of the water and especially make these area very bright green. So I'm gonna keep, I'm actually going to keep the sky pretty similar to the picture, the reference pictures. So I'm now mixing up a bit of cobalt blue and just getting enough here because I want to make sure that I don't have to go back and remixed some mixing up or trying to cover a large area. So let's get straight into it and let's just start off. And using a pretty big flat brush. This is a what is it? It's a three-quarter inch flat brush and working relatively fast to bring these washed down as we get closer to the horizon and why we want to make it lighter as well. And to do that, you just need to add more water paper that I'm using. It's a 100% cotton, but for some reason it just dries extremely quickly. So that's why I'm just trying to work as fast as I can. Here we go. I can lift off and pick here as well while the paint is still wet. Just drawing off my brush and seeing if I can lift off some clouds indicates some class further up page. And I'm going to do and I've got some set grain, which I'm pretty much going to cover the entire area. It's too dark. Water that tell a lot more to the sky. And let's just get That'll if it goes into the sky loop, that's no big issue, but just try to avoid that area. And there's also some trees and here which want to indicate that. See how I'm cutting around. Let's do this side effects, potentially this area of bit k for the down. And as we get closer to the foreground, I'm actually going to add in some yellow just to help lots in it opposite k. Mix some grain into it too. Every good. Going to cool down this area or if the gate, I'm making it spit bluish. And really we should make you kinda bluish gray peaks up Simla. Stuff, my palette. And it looks about right. And this building here, hiding behind the wall and decay, slot shutter, there's well, rest of that looks more or less fine. Though will not pick up some more set greening just added into this corner here. Like that. What I wanna do is now add in the water. And I'm really being careful now to not mixing the yellow or green into it. But I want to get a very light mix of cobalt blue. Test that out. How does that look? Okay. Okay, now this final bit in the second layer is we're just going to add in some of the darker values and some shadows of the trees and the darker trees, especially in shrubs. And the sun behind there, that's going to bring out the whiteness of this wall. Bit more coming in from this side, but the light source is coming from the left. So I'm going to have to remember to keep the shutter is running in that direction to the right. So let's give this a try. Just mixed up some of the SEP, grain. The blues leftover on mortality. And I'm gonna give this a try with some of these little shrubs here. So do this one. This one here, goes it loose style. Let's just edited a few here. Dr. Bu Xia Huan here. I'm here. And I do need to indicate darkness. You'll notice there are some buildings in the background and I'm kinda just add quickly now, this gray mixed up fairly early Doc and kind of try to do this foreground. There were some of the smaller ones. It's grass and things like that. Well, it's actually a ten goes through and doc and the trees lighter if needs be. But it's important to have. Indication of these in tears. Well, what I wanna do is actually now doc and these trees a bit more here. Too much. Well darkness around the shawl on, shadows. Running to the rod. Trees, B2B, Dhaka, around the holes. Especially in here. Anything I think it needs a bit of work is the sum of the values to the left and needs to be dot-com area. That's a green. Just some darkness and shadows that are common across here. And the full ground on adding just some little indications of grass and it is not completely the same column. Just add some darkness underneath here. Maybe here as well. Well, the wolf looks pretty much done to me. I can just keep on going and getting adding more and more detail. But at the moment it's already looking like what I wanted it to look like in the beginning, which was just an impression of the photograph that I took. And I also want to make sure because if you keep adding more and more detail, you run the risk of overworking and also getting rid of some of these lovely little areas of light, which is so crucial. Okay. I'm going to add in just a few, picking up some of the grace, my palette and getting quite close to the page, just getting some distance. Keats and pretty small indication. Maybe some up top is small. And that one's finished. 18. Detailed River & Building Scene: And we're going to stop with this second landscape now. And what I'm gonna do is also go with this. Blue sky, creates some nice little ripple. Kinda get this bit to stand out as well with some Lada. Let's see what we can do. Now. What start with is bit of ocean marine for this sky. And again, just try to mix up enough. So I don't have to keep going back into it later. And that slope over to the three-quarter inch brush needs to be dock. I mean, just try to be more. And as we move down the page, just again, cutting around those trees and importantly these buildings as well. Just do that. Now I need to use a smaller detailing brush. Just used a flat brush to cut around if he can't get it exactly is not a huge deal. But very important just to believe the whites on this building for later. That's looking quite alright. I'm gonna go in and get some set green again and start painting in these trees to the left-hand side. Some of its kinda go into the sky. Really not concerned with that. In fact, it's probably better. Just letting it melting and go all the way down, bring that washer, sap green all the way down into the foreground. Meteorite and foregrounds. And one lighten it up a bit more with some yellow. And he set green again. Actually we'll go with some hook is green and mix it up a bit around the houses. And new to these. So let's let script the script, the ultra marine again. Just mimic that, uh, be it water down that color slightly and start off with the backward. Sees that too. Chicken to connect that up with the land. Join things up a bit. Is it comes through the down into the foreground. Just cut around some of these green. Spend too much time on that and carry that down. And it has to be Dhaka means the foreground here. So remember to load up, you brush with a bit more pigment is, and go further down the page. Here. K, I'll treat to do this is to make the waves smaller at the back and they are at the front. So that these ones here you want to go make larger starts and Docker strokes as well, like this. Okay. So that's the first wall. So, you know, if I'm going to start with the building, just try to get some of the orangey yellow color on that roof, indicating some of these color on the roof. Here. Go, sir. Shia. Some of these other ones are a bit darker. So get that warning. So long as this one just talking down the base little bit, make it a little pretend shadow coming across the side of the building. This on as well. Just try this fan brush. I think that was a bit too much. I think this one should do the trick. This is a really old. We're going to go into these trees. You know, make it a bit darker on the song. And then some of those trunks. Now, focusing on the shutter beneath them. Rickshaw mixed up a bit of gray here. Also the trees. So that's especially this one here. More. Just kept that scratch out a bit of detail on some branches in the Sultan usage of it. And I'm going to start adding in a bit of detail to the foreground. So Dhaka, bits of grass is a round brush. Go with light gray mixture that see if we can lift out the washroom. And you've got this one here. And this big one was actually a church. Some of this bank. And I should also just add a bit of caution that she button trust me, go ones. Still want to make these shadows a bit Dhaka, some of this sort of stuff. Ok. 19. River Scene: Buildings and Figures: So I'm going to start out brought away and work on this sky. It's kind of pinkish, orangey color. It's a very nice sort of soft colors. So let's try going in with this yellow and red just mixed together. Cannot cut around these trees. And really just bring this whole wash across the whole painting. Just being careful is loaded in your genetic code around these the buildings. And get that all in one wash and adding more water. As I move down that page is Cutter grounds, these church. And he's buildings using a flat brush bed. That means it will colour in it. Think. Yeah. Shift that puts a bit as well. The pipe is still wet. I'm just adding in some little bits and pieces of color here and there. I'm hoping that's just to fall indicates some, some clouds. And we can even do a sum Dhaka ones up here. Xi using the leftover bits as gray. Smaller as you come. Like that, must still be done wet and wet. Some over on this side. Carrying the same mixture downwards. Now, the Rafa said a bit more yellow. And as I get down more to the front, just kinda add a bit of darkness there. And let's see if I can actually get the shadow of this building done at the same time. So that's all I've done. I've just indicated a bit of a shadow there. K will do the same for these four guys. While I can very quickly, I'm going to start doing the green areas around here. It's Sap Green setup would be drawn that on with the sky. Just get that whole area covered mostly. And now the left-hand side safely and get a bit of mixing going on. Leave some what just to indicate, the river. K is also a green coming up here. In a curse this side. Think these orders, she must try. So ultimate edge can go in and do a bit more Witten with getting some hope is green. Because green adding some Dhaka shrubs. And here's well, and this side, dark areas here. And here. O to this mix. To dock, you need a bit more dock, a tree shaped come in across this side like that. And then just branches and stuff. I actually can swap over to this brush indicates some leaves like that. So this, the bank brush, round brush. Same thing with this tree. Is going to drop the just lightly touch the echo. He's my round brush. Just indicates some leaves on this tree. Often this edge here. And just allow some of this dock a car color to start lending into k. This should be Dhaka. Leaves. Some of these branches a bit more like that. We can start getting into the background a bit as well. And there are actually houses and buildings in here, but I don't want to emphasize them too much or at all really. No one running ROS. And some other. Dhaka trees is one here. Just at a shoe in like that. And you use this lift of a purplish color and get the whole building in. One go. Just so that it looks backlit. And same for the swan. Joining up the shadows or faded off. So I'm going to try to add it in again. Same with these four little bit of pedal voting. Pope in some birds in the distance like that. And give that a quick drop. Add in some details of the Rous here. This doc in them up a bit like that. This is the last thing I'll do is use the fan brush again and just pick up some darker pigment. Going to indicate some of these shrubs near the shore. Like this. These also serve as this help lead you into the painting as well. Make them smaller up, the back needs to be Dhaka sped up. And you can do things like just had in branches to connect these. The use up habitat here. Not so unnecessary. And in some Dhaka leaves like that branches. And that's about Don. And we can keep on going. But remember, we're just doing some sketches. 20. Sunset Scene: River/Buildings: This one here that we're starting on now is a zoomed-in version of the one above. And it just gives me an opportunity to focus a little bit more of the details and see if I want to try anything different from the one above and think it was a bit to the sky. And so I'm going to try just going straight in with this yellow. This is again bluish yellow. Let's go across. Bring that washed down trees. Okay. I'm just gonna add a little bit of red to the top group that just blends in a bit. Mostly. We're going to move further down the page. The green again, cutting around hearing today were actually runs across there in this green first. Bring that all the way down to the foreground. Dock it up a little bit here. And then I'm going to do this. And one thing on this side, reverse sort of runs off on the corner. And yet the green feather it in one of my, this extent or do you think now that guys wanna put in some grays and clouds to make it look a bit more interesting. So I'm going to try that like this. So see how that works out. Smaller near the, as they go down. This list and King are Kay? Ooh, okay. You've got some trees here. Maybe around there. Always comparing and Luke eight bit of darkening said Our she just around the edges. What else have we got? Nice trees that make some darker ones around the viewings. This is a lot daka, daka. Dry brush the spit. And not that. It. Gonna go and grab my fan brush again. And take the opportunity now to add in some dark areas. Doc is shrubs, that sort of thing. And quantity was that. Now, last thing is doing these buildings and I'm going to use a purple. Skipped some of the red, mix it in with this cobalt blue. Okay, final step. I'm just going to make these verbs a bit darker than the first one. Rabbit. Again, this leftover purple to dock is going on. This one. Done. If you want to, you can add some goods to break up. The background.