Watercolor Painting - Venice Pen and Ink Travel Sketching (Part 1) | Watercolour Mentor | Skillshare

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Watercolor Painting - Venice Pen and Ink Travel Sketching (Part 1)

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

7 Lessons (1h 43m)
    • 1. Introduction

      0:48
    • 2. Materials Required

      4:01
    • 3. Venice: Background and History

      3:45
    • 4. How to Draw with Ink

      37:51
    • 5. Paint the Sky & Background

      28:53
    • 6. Paint the Ground & Figures

      27:19
    • 7. Class Project

      0:34
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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. 

This class is the first part of a series of Venice themed travel sketching classes, where you will learn how to draw and paint some beautiful Venice landscapes. Join me on a virtual sketching trip of Venice! I've also included some historical facts and videos of this beautiful city.

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 class is split into two main parts; Part 1 - Turning a photograph into a sketch, and Part 2 - using watercolours to add colour and value. I will walk you through how to complete this painting step by step!

In this Watercolour Painting -  Venice Line and Wash 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
  • Understanding the basics of perspective, angles and simplifying buildings
  • Using essential watercolour techniques such as wet-in-wet and wet-on-dry

Featured demonstration painting:

494b0a4f

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Watercolour Mentor

Art Classes, Mentoring & Inspiration!

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Transcripts

1. Introduction: Hi, and welcome me down from watercolor mental. I'm inviting you to join me in a virtue sketching trip to Venice is the first part of my series of Venice, Milan and wash watercolors and put a look, share the going to teach you how to sketch loosely yet accurately with inking. And I'm also going to teach you how to tenure sketches into expressive and vibrant watercolors. It's clauses aimed towards beginners to intermediate load is structured into pots. And the first part, I'm going to show you how to turn a photograph or same into an ink drawing. And in the second part, I'm going to show you how to apply translucent watercolors to create a unique painting, both mediums. So join me in this trip. Let's get started. 2. Materials Required: Okay, so before we get started into the actual painting, I want to talk a little bit about materials and I've made videos before on materials, so I'm not going to really go into it in too much detail. You can check out my other classes if you want a bit more information about what sketchbooks I used, that kind of thing. The main paper I use is Saunders, Waterford, I've got cotton, a 100% cotton sketch pad of paper. But it really doesn't matter if you or other types of cotton sketch pads or you've, you've got loose sheets of watercolor paper. That's completely fine. If you don't have watercolor paper, that's fine as well. I've got sketchbooks like this one here, which are labeled as watercolor, and they still get some decent effects as well. The only issue with these is when you try to layer the colors, sometimes a mixed together when you're, when you're layering them in. Another issue is you can sometimes where the paper thin in bits of the Pope come up if you're not careful. So just one of those things to keep in mind. But for a beginner, this works really well. And I still use them myself these days. In terms of paint brushes, the three brushes that you're going to need is essentially a larger flat brush. So this is a three-quarter flat brush. And that's mainly for doing all your sky washes for the ground, that kind of thing. Larger areas, uh, detailing brush which I use. And here this is just a number for round brush. And if you've also got a little flat brush, these work pretty well too, just to get around some of these square-shaped areas, find that a lot easier to use than using the round brush on those areas. So that's all you need, even if you've just got the round brush and the larger flat brush, that's all you're really going to need for this course. In terms of pens. For drawing as two types. You can get pigment liners and you can get these black pens, which are basically a ballpoint, but they have liquid ink. Now the pigment liners, they usually come in a lot of these different sizes and I've got them from 0.8 down to 0.05 and really only use a couple of these in the middle and maybe the 0.50.3 millimeter ones. And I just swapped between them. Main difference is the actual tip of them. They have a kind of softer, almost felt tip. So it just creates a little less friction on the paper when you're drawing. And with key ballpoint ones, you know, they're just a little bit sharper, little bit more abrasive, especially when you are using paper that has some textures on it. But I still find them to be pretty fantastic. You're just gonna get used to them and making sure you're not pressing down too hard on to the paper. But these are really fantastic. They're universal. Pens are used in quite a lot these days only cost a few dollars and they last year, really long time. So if you're a beginner, These are really good option. Just grab one of the 0.5. in terms of paints, I've got myself a whole bunch of paints. You know, you can get them in tubes or you can get them basically in these pellets like this. And I would just recommend going with some student or artist grade paints, whether they're essentially cakes like these pants, I mean, and also in troops. So what you're going to really need for this tutorial is just your primaries and you've got a blue, a red, and a yellow. That's fine. You'd be able to get by with this course. The yellow that I uses in Naples, yellow, which is a kind of opaque yellow bit of opaque white that's mixed into the yellow. So that's fine as well. If you've got yourself a tube of white paint, you'd be able to replicate that color. 3. Venice: Background and History: I wanted to go through a bit of background information for this series as it's going to help you understand some of the history and experience of being in Venice. And I know at the moment it's quite difficult to travel. But there's one of the things I love doing when I have the time and do try to go overseas every year, if possible. So last year, around October, I did a long trip around Russia and Europe and the first series of classes I did was actually on Russia. But one of the places I stopped by was of course Venice. And as an artist, I've always been drawn to the beauty of this incredible C and having early St. pictures, it's definitely one of the things on my bucket list. And look, this shaky little video that I've taken is from the ferry that I caught over to Venice from the mainland. And I remember saying the Santa Maria della solute, St. Mark's Square, the DOJ is Palace from the ferry and just being so excited and amazed at how incredible it wasn't person. And sometimes when you look at the photos and see the real thing, you can sometimes be disappointed. But this was definitely the complete opposite. Very jobs you straight off at St. Mark's Square. And in my experience, it was the most crowded place in Venice. And the reason being is that the tourists often arrived by ferry or tram near that area. And people also hire out gondolas there as well. So it makes sense to start this series exactly where it began and just share those experiences with you so you can get a feel of the area. And just a little bit of background history. Venice is in the north east of Italy and is situated on a group of a 118 small islands. These islands separated by canals and linked by over 400 bridges. Venice was originally built by early settlers who fled their homes and the mainland due to by attacks ravaging Italy in the fifth century AD. One of the most fascinating facts of Venice is that it's a true floating city. The buildings in Venice sit on top of roughly a million or so wooden stakes, which were driven underwater and the construction of Venice, the wooden supports remains steady due to the lack of oxygen underwater. So normally fungi and bacteria, which causes were to decay and not able to survive. The constant flow of salt water also petrified wood over time, turning it into a hardest structure. The same that will be painting today is a classic landscape of the DOJ is Palace from site mock square. And it's a view that's facing out to sea. And the San Giorgio Maggiore and the sand Georgia Maggiore is one of the islands of Venice that has a church bell towers right across from St. Mark's Square. And one of the famous scenes that had been painted by many artists over the course of history, including Monet. So think this is a fantastic place to paints. And what I've done also is included a number of photos and different references. Some of them are pictures I've taken. Some of them are free, royalty-free images that I've taken off the internet that you can use to come up with your own sane or rendition of this lovely area. I've also included a scan of my painting and pen drawing that I've come up with. So if you want to use that one that is also available in the course attachments. 4. How to Draw with Ink: Okay, so I wanted to talk about how I actually transfer the images onto the paper itself. How I sketch some of the techniques I use. A lot of time, I'd use a photo that I've taken on holiday or we can even find them just on would have free reference picture websites. So what I'll do first, especially if I've got a subject that's little bit more complicated. I'll use a pencil to put in some real basic guides. So we're gonna use this photo as an example. And what I'm gonna do, draw the line with buildings roughly hit the ground. So say it's about here, just a very rough line. And the main shapes we've got here, this building to the left, we've got a group of buildings in the middle and these tall tower and the group of buildings to the right. So what you wanna do is simplify this down. So we look at this building on the left hand side, we can see it's kind of a rectangle, but it's often a kind of angle. So firstly, what I wanna do is estimate how far it comes in. And I would say it's about here and it finishes around here. And look at the corner of where the building cuts off into the into the sky and the edge of the picture around here. So I'll just draw myself a really rough guide like that. And somebody, separators don't need to. This building here to the left. It's kinda got a triangle on top. So just draw that here. And the top of the triangle hits the top of this building to the right. So we're going to just do that. Get in some of the little details. Simplify things down. Windows are just rectangles like that. Couple, couple more rectangles here. Close that off here. And we're gonna just try to get in this building here on the right. It's going to come up and come down like that. Some shops and things beneath like that as a bit of a side of a roof and some shops underneath there. And look at the angle. It's really important to look at the angle in which the shapes kind of lines branch off. So this is essentially a cube and it's just sitting on an ankle. So you want to get that in like this. And you've basically got a side of a building there. And there is a rectangular sort of building with the tribal roof behind it. So I'm going to do that with their window. I mean, and again, beginning in his side of the building. So just picture this as a rectangle with the triangle on top, something like that. Then you've got some. Smaller buildings and then I can barely see what's inside. And it's not too important to getting holder detail with that. Just put in a bit of details like that and then we can go in with a pen later. And now we're going to get into this tower and it sort of ends around here in the sky. So use this as a god. It comes up from the top of here. And this building here actually has this another section that comes up that it goes behind. So it kind of comes out from here. And we'll just have a rectangle and an angle that site cuts of ran. And then we've got these interesting sort of shape. He could be a hexagonal shape on top. Something like that in Windows. Further up. The risks we can all just getting the pen is building also has some bits and pieces coming off the side. They're part of the roof. Now, I'm gonna go over to this side and just getting a little bit of the detail looking at the angle of how this comes off the side of this roof. So if you do it like this, it's too much of an ankle. So could pay your photo with the actual pay a drawing with the actual photograph. If you want to get an accurate perspective. And it's really up to you how much detail you want to put in, especially with the pen. Later on. Main thing is to just get in some of these buildings and I do go overboard sometimes, but the pencil don't have to go in with the pencil either. If you feel confident enough to pop in there with a with the pen, go ahead. Just with some of the sketches I do where there's a lot of buildings. I like to do a very quick sketch like this. Ok, so I've got a whole bunch of pens here. These ones have ballpoint pins and these ones are basically pigment line is they contain liquidy, both of them contain the Greek. The only difference is that the tips of these pigment line, as I kind of felt soft material is soft a material. And with these other pens, you've got a metal tip. So difference being I finally join with that pigment liners. You get less friction on the paper and you get more rough edges. And the lines just a little bit more lively. Whereas if you go with these ones, you can tend to get very crisp lines. And once you go in a certain direction, it's a bit more friction on the paper, so it's harder to move it around, but both are pretty good. It just depends on what you prefer and the kind of effects that you want to achieve. So I'm actually going to go with these two ballpoint. Ones just to demonstrate how they look like. And that's a 0.5 tip and this is a 0.38 tips are just slightly smaller. And generally, the technique I use is with the buildings and objects, people, figures in the foreground, light to make them a little bit darker and also the lines thicker around them. So if you looking at objects in the background, you want to use a liner that's a little bit thinner, especially if you're doing antennas areas and things like that. But if you've only got one pen, just use the 0.5 and it looks completely fine. It's just though not a little thing you can do. They help imply depth. So start wherever you want to start, I'm actually gonna go in disappearing here first. And I'm going to go and just get into roof in one quick stroke like that. Comes up to the top here and comes down here. There's actually a flag that cuts across which I haven't caught in. So quickly do that now. So not too light, can't go live the things. And the flag goes up two rounds here, actually the top of the flagpole and just killing them little bit of that into two. Jay much. Remember you, you're just creating an impression. You don't want to spend all day trying to get every shaping as the photograph. Otherwise, we'd just when bother and take a picture. Say this, some objects and things up here on this roof. And I'll kinda have to zoom in a bit more to see that detail. And again, it's up to you how much, how much detail you want to put it in here. A lot of the time lists is mol. Ok. Couple of windows here. And I'm going to start working on this building again. And again. We're just gonna have a look at where these windows lie and say if we separate this building into half and look at it more as like a rectangle. It cuts off around here. And so we want to have one of the windows just above and below that section. And the other one comes around to the right of the center point of the building here. And you got one underneath, like that, one here. And this is important because you don't want to sort of wait till the last minute and realize you've not got enough space left. And if that happens, it's also not a big deal because no one's going to sit there and count all the windows. And certainly when you're painting a scene like this way in Venice, you've just got windows everywhere. You're not going to go and color them all in. It's gonna take you forever. So just get in as much detail as you feel you need. You can swap over to a smaller pen. It's going to help with some of the detailing of these windows as well. And with buildings in the foreground, I'd like to add in teeny bit more detail to the windows so that this area of the roof in swap over to the pen again. And I'm going to get into this side of the roof that's going off here. It's kind of the another shop. And, you know, we've got basically Few things going on here. We've got a figure as walking. So let's try to get this figuring couple of arms here. And let's get the lake. So one here and then one coming over that side. Kind of walking towards the camera. Maybe we can get him to hold onto something like a bag like this. Okay. And we want to get some smaller figures is well, maybe just one standing here waiting at the shop with your friends. And maybe there's one that's walking in this direction like that. And another smaller one here. Try to create just some random figures walking around different poses, zones walking in this direction. This one's walking into this kind of alleyway. Hand soap to a smaller paint. We've got another figure here. Maybe just standing pay. Imagine this one here, two. And what will we get this one to do is kind of it a bag off to the side, MP walking towards the camera. And you always get one foot in front of the other. Big detail. Maybe a color like that. Ones in the background. You don't need to focus much on what they're wearing and things because it's too small to tell. And less detail on the background is going to make it look more convincing. Anyway as sort of depth effect. And getting some of these little areas in the background. Now I'm going to use. These little pill is key to just create a bit of negative shapes around the figures. Color round. Just quite roughly like that. And this one's already Dhaka, so I'm just gonna go around this figure here, get an impression of the heading like that. And we'll do the same here as well. Pillar coming down there. And we'll color around it. And there's one here. Let's get a doorway and leave a bit of what? Just another pillow and another one here perhaps. And there's a few things going on to this shop, but I'm not going to focus on all that detail. So let's see what else. We've got. A building finishes off a bet here. And then there's a sharp front shaped thing there. And we're gonna get into fi, Maltese pill is one here, one here next to the flagpole. Again and get one band here that have to copy it exactly. And wonder grants, Yeah. Okay. Really important just to leave little bits of white, similar to painting. You pen and wash. It's important. The techniques that I'm using at the moment, I'm truly just coloring it in. But another thing I do is just some general hatching, sorry, I'll going one direction like that. And that will, the lines all running in one direction would imply some darkness will shade, color. This section in there just indicated doorway. You don't just disappear into the background here so you don't need to fuss around much. They okay. And this is the side of the building. Let's get that in. And there's little windows and things like that up is few windows here. And we'll get into the back of the southern building that connect a pot on top of it. Sometimes I'm not even looking at the reference. When I do, it's just to see if it's lighter or darker. Okay. We're gonna get to this side of this building like that. And it'll windows BY some opened up like that. It's going to help create a bit of an impression of open windows. And another one opened like there. And there's a lot of stuff going on. It just keeps on going really. And the trick is not to focus too much on the objects and buildings far background. Because you are going to then detract from what's going on in the foreground. K. By just getting some details of this building. Yeah. Okay. But window here into a Docker window down here. But really this whole area is in shade. And same with part of this building, but I'm thinking I'll get that in with the watercolors laid out. I don't want to turn this into a entire drawing. So there's a bit of a section of the roof coming up here. Other two sections as well. That bit of this kind of balcony running behind the darkness underneath like that little window up. And what this is something sitting on the balcony. And there's bits and pieces of aerials and things like that coming off the whether the roofs and you can sit here doing them all. But just try to get a few in hearing. There don't spend too much time on them and a lot of people don't even put them in the window. They'll just imply that. Ok, let's move up into the tower and get in kind of a side of it first. And look at the way that I'm also sketching. I'm not going and sitting there and trying to get this one line completely straight. I'm kind of drawing it in small sections. I might go to there and then from here to here. So that just creates a looser sort of fuels. So it's kind of little lies that are joined together. And this looks at little bit more irregular because if you go with the style where you're making everything look exactly straight and aligned. As soon as you make a mistake on one section, it just looks funny that area that you haven't got completely straight. So I find this is a lot more fun to sketch in this sort of way. And the drawing and painting also, to me, it looks like it has a lot more character. Let's get in some of these little windows on top of the tower. And we're going to some indications there. When I took this photo, I thought to myself this would make a fantastic painting. And when you go out, you may not even be an holidays. You might just be, you know, in your own town and having a stroll through your neighborhood. Always have a lookout for scenes that show different dimensions of the building. So this three-dimensional look of the building and interesting color combinations. And you look at the composition and think, hey, that could potentially be a painting or reference. I find when you use references that you've taken yourself, it kinda brings a bit of a personal meaning to your work. And for me it reinforces some of these memories, especially that, you know, when I was on holidays. I haven't got the top of this tower. Correct, actually. But I don't think anyone's gonna notice it. Just get it quick impression of the top in like that bit of shading to the left hand. Let's detail this slightly. There's a kind of groove here and then another one that comes up like that. Some more detailing and lines. But that's completely fine. You don't, because said before you try and do a masterpiece, you just trying to get in basic elements of this sketch. And I'm now going to work on this other building to the, to the right now I want to get it out the way. And let's get in some windows here, following the perspective. So look at the line of this roof here. It's going in this angle, which means all the windows have to also follow this perspective and get larger. As you approach the foreground. We start drawing windows on a different angle. It's just not going to look right. So always be, I guess, conscious when you're drawing all the time and it does take a bit of mental energy to be honest. So assuming you, when you're doing subjects like this with this perspective is such a key element. It does take a lot of energy, but it pays off at the end of the day because there's nothing worse than ending up with a drawing that you have to stick with. And especially in pen and wash where you're always stuck with it. You can't go over it with watercolor and get rid of what you want, what you draw. In Penn. She'd black pen, my BS, it's it's pretty much permanent. You have to deal with it. So you want to do the absolute best you can to make sure that the picture that you've drawn into air looks right and that you're happy with it, essentially. And if you think around too much with this stuff here, and I want to just get this out the way. This is not kind of an important part of it. This way is quite complex and it will just reduce that down to something simple like this. Now we've got another bit, another window that kind of comes up and goes like this. So anytime you think you can simplify a window into its elementary shapes, then definitely do that. Don't spend all day trying to get everything in and get some of this brick work in. Kinda seeing that K. And what I'll do is also getting this darkness here with some hatching. So make it all go in one direction like that. That's just going to apply a bit of darkness. And if you want to make it darker, you can turn your pen on the opposite angles. So you've got the lines going this way, just going the opposite angle. And again hatch I should just demonstrates so just hatching this opposite ankle and it just creates slightly darker region. Because if you go in the same angle, what it's gonna do is it's going to override some of the lines, which means son of edit is gonna lie there. Some of its kinda look darker. And I'm going to actually hatch little bit of this building as well. Don't need to because at the end of the day you're going to be going over in water color, right? But just demonstrating, I like to use a combination of both. Just hatched this building slightly in the foreground. But okay. Outline this flag pole a little bit more. You like it disappeared amongst older buildings. Okay, let's move on to this. It will not sure what it is. And that didn't go inside when I was there. So just this must be some kind of historic building and getting into the details of the roof like that. And what I'm so think of it. This is a triangle and this is kind of two squares sticking out the side like that detail in a bit. Smaller triangle inside. And there's all kinds of Figures and things in here which I'm not even going to, not even going to bother trying to get in just a touch of detail in there. And that's it. There's actually a little chimney. You have to notice that before. And go over the guidelines that you've done with the pencil before. Some of this section here. Don't be afraid to take your time in some areas, a lot of people think that they should hurry the drawing. And I, to be honest with you, I like to get the job done as quick as I can because I just wanna get started painting, but you have to enjoy or to start learning to enjoy the joint process because drawing is just as important as painting. And when you draw, it improves your painting skills as well. Because you're looking at shapes and angles, and light and darkness. O elements which are crucial. When you're painting at the same time. If you can draw, then you most likely be able to paint. Focus and learn how to draw better. And practicing. In a judging distance, reducing shapes down into smaller components, that kind of thing. And you'll never regretted you find that your paintings improve tenfold. Lot of master artists have sketchbooks that they carry around and work out of. And you have artists like Picasso, who is mostly known for his cubist work. But I think he had something like 10 thousand on, I don't know, thousands of sketches, pencil sketches and different styles and things like that. And same, same, same with Van Gogh. These guys would practice continually. So make sure you always working on your sketches. And even when you're out and yours, maybe you're taking the train home from work hole, you're out on a holiday or something about that. Bring a sketchbook along and at least you have it with you. And if you feel like you want to do something else and a lot people liked to read and that kind of thing. I'm on the train, but if you want to do something Different or if you want to get a bit of practice in play sketch book and a pen like this and just start sketching. And when you get home you have something to paint. And even if you don't, you've put a nice, nice sketch. The more you consciously practice. And when I say consciously practice as you're looking at the lines, you're making a thick enough, are they in the right direction? Is it light or dark enough? So that the longer you and more that you consciously practice, the better you get. It's not necessarily the amount of time that you spend practicing, although that's pre-factor is, it's also how you think about what you're doing, consciously thinking about what you're doing in trying to improve. They almost get into a bit of trance sometimes where you drawing and you just don't even thinking anymore, but it's also important to stop for a second and think, okay, is this what I want for these lines running in the right direction or that kind of thing. Some of this air of crafted or into the top section, which leaves a large section here for the bottom. And it's not gonna make a big, big difference, but that's one of the things you have to keep in mind as well. Looking at such a complex building like this helps to just start in the beginning separating out the flaws. So we've got 12345 sets of Windows. So you can always draw a lines here to separate them out before you start drawing the mean. That's one technique that I use as well. But always remember, you want to have a bit of fun and enjoy the process to it doesn't, every sketch that you do doesn't have to be something that's completely planned out. Now this section's got some figures is quite interesting. What we're going to look at the left-hand side. There's nothing here, there's no people. There's kind of a section here where people are sitting at, and I'll get that in. But one of the things with composition is that we need to look at balancing it out with one side of it that's just looking too busy on the other side looking completely empty. So we're gonna get in some detail of these section like that. And I will imply some tips, some going around this direction they're going. And we can put in a figure just sitting here. That just a very quick impression and noticed a space here so we can put a person walking up. This direction like that and get it late coming out like that. Another one come into the BEC that oops. We have maybe a bag, somebody onto a bag to the side. And I think we can get another person in here. Something more simple. Walking towards the camera, like the other guy here. And I've drawn this person too small and L just making maybe bigger. Okay. So, but look what else can we get in there? And there are other objects like beans and things and try to just getting some impressions of some birds like that. You have to really detail them because people can figure out generally want they yars, known as you go to a couple of legs. There's nothing else that could be down there anyway. So MOM, I set the stage where we're completely done. And you notice I haven't done any of the lines with shadows and stuff. That's completely fine. We can go in there and do that in watercolor afterwards. But getting as much detail as you want, essentially. And once you feel like you're ready and just stop. And to me, I think I'm just about done. Didn't somebody's lens, that building will expand out this door B. And that B deliberate with your drawing. When I say that, I mean, with the line work, try to go one direction and be quiet specific with what you're doing rather than trying to get it every little detail, everything into automata, you hold the pen often more strained. The drawing looks at the end of the day, they'd have hatching here. And a bit of hatching here as well. This section is just going to be Dhaka, maybe some darkness in here, another figure to put it in, another figure in e2, walking in there. Another one here. Just impressions. Color around them like that is going to help make them stick at later more in the background. And I'll say that's finished drawing. 5. Paint the Sky & Background: Okay, so I've got this sketch all planned and Indian and what I've done, I've just taken the reference picture, which is really busy looking. We've got people just all over the place. When I took this photo, it was really crowded. I guess it's completely opposite these days. But just to make things simpler and I guess a little bit more serene, I've added a few figures, few people sitting at some tables here, some pigeons and birds around the same just simplified things a lot to make it easier as well to paint. So if you want to go through my process and how I just inking somebody's details, make sure you check out the previous video if you haven't already. So I'm gonna go through and start off by getting the sky in and preserve the sort of mood that's already in the reference picture quite like that. Has a kind of blue skies, quite a fine day and birds around and it's kind of midday, so son's pretty high in the sky, so I'm trying to maybe get a shadow cast just underneath to the left of the figures. So we'll see what we can come up with. First thing I'm gonna do is I'm actually going to pick up some Cerulean Blue. And I'm going to mix up a fair bit of color actually, because I have a feeling we're going to need good proportion of it. Okay, so I'm going to start off on the top area of the sky, kind of where these buildings, this building to the left, starts off. So making sure that it is a little bit stronger on the top with the blue. So I'm using a flat brush. This is a three-quarter inch flat brush painting pretty loosely. I have drawn a box around the entire scene. This is pretty iconic area in Venice, St. Mark's Square, just on the edge. And going around here. Just trying to stay within the lines where there's not a huge deal. And you get to Venice, they drop you off by the ferry over this Jedi over here and this little gondolas and people trying to get rides. Things over there as well. You know, I went through Venice on the tram as well. Kinda depends. I live just across from Venice and you basically just take a tram that takes you straight across gigantic bridge, brings you down here. So what cheaper that way and convenient at times as well about the ferry was very nice and include a video of that. Experience. Once I get this all finished. Okay, so this is kinda taking me in a little bit of time. I'm going to just go over this entire statue on top. Like fat, it's tedious, but you need to make sure that you're cutting around some of these buildings and things like that. And the reason I say that is later when you go over these buildings in another color, it's just going to look a lot more crisp and clean if you have white preserved on there so you can get that profit color that it should be just diluting that blew down again. Thinner as I get to the bottom, just kept getting quickly. And it's really important to make sure that this line remains wet. Because otherwise you risk getting a kind of ugly looking line where the wash ends. Going to paint it pretty quickly. And if you have cotton watercolor paper, it makes a big difference because it gives you that little bit of extra time to get all those bits and pieces painted in. Like I'm now I'm doing out cutting around these lamps too because I want to get them in in a very warm color later on. Okay. Let's bring this washed down. I'm going to dilute the pains even more as I get further down. And now when you're using some decent student or honest, great watercolors, it's a lot easier to dilute them Dan, and still get a very nice wash. Because when you have a high pigment concentration, just means you can still preserve a lot of the colors and still get a nice effect even though you've got mainly water in that mix. Cutting around some of these buildings now not trying to be too careful with these ones, it's okay if you kind of go over a bit of it. So now I've accidentally gone over some of this lamp. It's not ideal, but if you've got a bit of Naples Yellow or a kind of opaque yellow, you can always make one as well. If you've got some white with your watercolors as well, and you can actually lay it out over the top. Try not to swap brushes if I don't need to. And we're going to finish off. This part is well cut around these lights. And this is probably the most challenging part. Just getting the sky down properly, you have to get that right and make sure that as you're doing the sky, that it becomes lighter as you come down the page as well. That's just going to enhance feeling of lights in your painting. Things get these ones done pretty quickly. Most they're blue within the arches showing through. Ok. Almost there already. So that's pretty much done. You can go through and add in some clouds and things like that if you want. But for this one I'm actually just going to leave it as is. And you can see some areas where the paper has dried little bit unevenly. They kind of look like clouds anyway. Alright. So now we can breathe for a little bit. We just got to think about what we're gonna do next. And what I'm thinking of doing is just getting in some of the colors of these buildings, and especially this one here in the corner too. So let's go ahead and mix up in Naples yellow. So this one, now give the paper culture I. And that's just to make sure we get some nice crisp lines. Leading. Kay, so mixing up some of this Naples yellow, if you don't have any Naples yellow, you can mix up some yellow ochre, yellow with a bit of white, but just get that sort of creamy color. I find that it's quite common with lotteries, Venice and kind of, you know, it's, it's crucial I think, to just imply that color in the buildings. So just working my way down this buildings and the left. Taking care to just cut around this area of the blue as well. Hold the brush further down if you want to get a bit more control. That always helps. K. And I've realized, I've forgotten to put in a bit of the arches have Shinzen sky. So I'm gonna go ahead and quickly do that with some of that leftover blue that I have like that. Okay. A quick dry again. Back to the nape was yellow. I sought to a smaller brush to make sure I cut around these areas. Corporately. We have to fund mock on top as biologists who want to get rid of that. Okay, so carrying on use. Okay. You want to do is try to get some impressions of some textures and things here as well. There's actually some complicated patterns which we've got in with the PIN. And I'm just going to be the darkness and stuff around there. And we're gonna move on now to some of these buildings. Okay? So to start off with some Naples Yellow ran the conus that cut around these figures. And Amman actually look, it sinks down smartly. Greece. And these buildings, especially the ones around this saw they mean warmer colors. But I do find that it helps to just very constantly just The values in the temperature just keeps things interesting. On top here I'm using some sienna trumps, interpretive Naples, yellow at the bottom. And pretty much the rest of these buildings. Lots of roofs. And it's then being the son, you know. And this one here is tau, these in sienna color. So let's get that in. Doing go to dock. And all the way down. Still want it to be fairly transparent, but docket than the background. The top gonna get in just a little bit of gray. And carrying that down to the left side like that. Because the light source is coming from the right-hand side. And apply some shadows and things there as well. And then go over this left side of B, like that case to imply some slight Shadow Running for left. I headed to glue in there as well are kind of cool that color to that, to the top as well. Smartly grab some of the same mixture. Cnr and I'm gonna go through and do some of these buildings cutting around the yellow areas in the US. And actually cool it down slightly lighter. And the section here, and maybe some blue at the base. Cooling it down again. Okay. Good. The left-hand side, I think getting rid of this night was yellow in there as well. Variation to keep it interesting. Okay. And the buildings to the right-hand side, I can see in this area doesn't need to be emphasized much. Focus to be more around this area. And one thing I've got to do is these dunams split the main cooler color, that cooler gray color, and usually taking extra k not to make them too dark as well. I think what I'll do is just double down this area here, just one stroke that and then grab a tissue. Just debit off to right. Okay. Well, I'm adding to my getting some of these lots on the lamps, yellow ochre inside a try. And then not actually this brought I'm just exaggerating it. Especially against the blue sky. I think it just creates a nice focal point. The eyes are drawn to. You've got combinations, contrasts of cool and warm colors. And this tower here that's going to be dark and that's going to be in the area of interest is one way you can kinda use color to your advantage. Same, this alone ones. And you can see, I've tried to leave the white of the paper. Colors, just going to read a lot more. Better. Is cool, down is air at that window and quickly get in a dark time later on. Especially around these areas just needs some more work. Notches here. Getting some detail of this. Statues. Mixing off a darker blue, ultramarine and some sepia. Kinda turn to this interesting color. Could have been appropriately. You've gotta try. And it is actually a CPI. Cpi mean a burnt sienna color, but I want to change it up a bit and adding some cooler times as well. And that's one way to do it down the base, just cool it down. We'll go back to the burnt sienna. Do. The base. Emitter cutter in figure. Just needs to be significantly darker than what's provided those buildings. Switch is trying to get that to read like it's in front. Basically. K will go up. Whoever. Could it be careful, clear cut around this. What? This cooler color comes nearly. Okay. Take some this warmer color and adenine here, whose name was yellow to kind of run inside there. And then I'm going to cool that town with this mixture here to left. All right. Statue on top, Docker. And I really don't wanna make it too dark because it's kinda then stick out smaller round brush for detailing. And I'm just shifting some of these gray paint and it's up. Okay. That one's done over a doc and underneath it as Whole. Lotta. I'm gonna do the exact same thing now. This one, we're actually going to make it darker color. Not too much of the burnt sienna in there. Bring that down. And just taking extra tab is the brushstrokes. Cut random lights and things. Just going to darken. The statue on top. 6. Paint the Ground & Figures: Running around those birds do want to just get the area in the back done faster. So I can continue down with some work on the foreground and be more. So I'll just hurry it up a bit. I want this nice good afternoon. Glow of light coming in. Round. Yellow here. Great. Okay. Another thing you can do at this stage is you can add in sort of smaller areas of things and reflections on the ground like that. And I'm just, what I'm doing is unfolding some of these directional lines I drew in with the PIN. Edit, Texture and things on the ground. Just trying to smooth it out. Some other areas here and there. Give it a quick dry. So at this stage you can start adding in bits and pieces of details. And you know, this is a fun be, wildlife is. But anyway, we can go in and pick out some dark colors and some interesting the colors to put in with the legs. I'm going to make this guy a little bit darker, the front handling a cooler color. So that's going to contrast against this warmer area of the ground like that. And maybe with the shared, I'll just Warm that up a bit like this. It's kind of a greenish colonnettes adding some good see you now in their skin in the back of his head like that. And we're going to think about the shadows. Well, I think what I'll do is just widened to a bit later. Get in. Some of these people, first person's got short swans. Mencius get colors in the lakes. The skies should have pants on that it darker and maybe even brighter yellow. Variety, yellow for the shirt. And I try and mix, mix them up, but it's all turning green. But you know, at the end of the day, it's not such a huge deal. You are just trying to get combinations of cool and warm colors interacting with each other. Makes for this fella warmer colored with that truly in blue. Here. This person. And we've gotten the weekend. This person, yeah. Maybe who get anonymous. College should think about what a dense early in blue. Wait for that to drive it first and jammed the jacket more dark in it. This is a good color for the hands. Nice grid. I can get them in quickly like that. S1, sleeveless and child green. Oh, cool it down to the bottom. To get inhibited color. Leon's she is in the background. You can be a lot more quickly. Think too much about what color you make them, but to make them good, lighter than the ones in the front. Small that's just going to push them back. Sitting at tables, things like that. So general colors. And so these pigeons school and kind of pick up a grayish mix that's already leftover on the palette just from older primaries are mixed together and I'm going to go through and document then that beat. And just like that, receive the ones in the foreground. You don't want them to stick out too much. Bunch up top here. Getting in these lands. Concentration of flu, CPR mixed together. And I'm going to just say columns. What should be the darkest? It will be detailing. Keep it nice and loose. Their need to dock and these as well at the back. Slightly. Your grandmother glaze over. Should leave a bit of light. This is just going to help bring them forward more. According to today's slides. But you can do the same for these ones here. Notice important because they sort of fall back. But it does help. So starting to come together now, I'm just going to try dark and this side, well, this tower and a bit more. For the same reason. Soon as just implies some of the shadows as well. Or something like that. I'm gonna talk because it's actually in the folder and we'll closer to the mic random mean candidate. It was a DAC of grand, sort of come. Just like that. We have some light reflecting off and soft in this bit here, which is going to look for areas to dark and say here, example, Kula movement, there. So here, this is just some ultramarine sepia shadows. Do you think I want to glaze over this a bit more? Just to flatten down that color. I noticeable since it's takes up a whole corner, painting, will try getting some of these shadows of the ficus. Now. The flat brush, thinking they'll kinda come over. Most importantly, use going to mix up a good proportion of district and the right colors. Well, going with the blue mix, maybe. And they said we're gonna make sure all the shadows come from the rod area. I think I'm just going to get them to go down and across. Such a nice year. Moving backwards. Mm-hm. Okay. Just anywhere you can see a chance to kinda put wanting. It really helps. You almost done. The last bit, really I'm going to do is just adding some care and things like that on some of these figures. Don't need to worry too much about the ones in the far background. Tend to just do the hip very quickly. And I think they're pretty much done. Really just a matter of looking. You can keep on going for as long as you want and find bits of data was to pick out and keep working on it. But the most part, this is finished. 7. Class Project: For the class project, have a look at the attach reference photos of Venice. Using the tips in part one of this class, pick one or more reference photos to base a pen drawing on. Sometimes you can combine two and take elements from both. My painting is also included in the attachments and you can use this as a reference if you wish. And remember, you just want to create a loose impression. So don't get too bogged down in all the details. Once you finish your drawing, usually tips in part two of this class to paint your scene. Then upload your project.