Watercolor Painting - Venice Pen and Ink Travel Sketching (Part 3) | Watercolour Mentor | Skillshare

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Watercolor Painting - Venice Pen and Ink Travel Sketching (Part 3)

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

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

Lessons in This Class

10 Lessons (2h 39m)
    • 1. Introduction

    • 2. Class Instructions

    • 3. Venetian Night Scene

    • 4. Gondola Scene

    • 5. Venice by the Water Scene

    • 6. Gondolas by San Giorgio Scene

    • 7. San Maurizio Church Scene

    • 8. St Mark's Square Scene

    • 9. Venice Canal Scene

    • 10. Santa Maria Della Salute Scene

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About This Class

This Watercolor Line and Wash course is designed for Beginners to Intermediate learners with a desire to learn the essentials of Line and Wash Watercolors. In this class you will learn how to paint 8 simple Venice scenes!

In this class, I will show you the FUN and EASY way to enter into the world of watercolors, 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!

In this Watercolor Painting -  Venice Line and Wash course, I will cover:

  • How to simply and paint 8 Venice landscapes from photographs
  • The correct use of values in painting
  • How to use color and complementary colors (warm and cool for striking effects)
  • How to paint shadows and light
  • How to paint water and waves
  • Understanding the basics of perspective, angles and simplifying buildings
  • Using essential watercolor techniques such as wet-in-wet and wet-on-dry

Here is the landscapes we will be painting:









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Watercolour Mentor

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1. Introduction: Hello and welcome to part three of Venice slotted wash. What aids Daron from watercolor mentor. And in this class what I'm going to be doing is showing you how to simplify down eight classic Renaissance. This class is aimed towards beginners to intermediate learners, and I'll show you how to use ink and water color to create these loose and vibrant impressions of Venice, which you can apply to any photograph. So sign up and I'll see you in the next lesson. Two. 2. Class Instructions: Hi and welcome to Venice lot and wash by three. For this class, I've added some high-quality scans of my eight paintings for you to use as a reference. I've also added the original photo references before you start. Make sure you use either of these to help you draw the scenes. And also while you're painting, you're able to refer to these scenes. Just have a look at the values. I'd recommend you try using the original photos as this will help you to improve your drawing skills further. There are more during lessons in part 12 of this series. So make sure you take a look if you want more tips and demonstrations on drawing. 3. Venetian Night Scene: K. In this particular video, I'm gonna be doing a painting. It's a night scene of Venice. Very quick drawing that I've put in space on this reference photos. And the important thing to do first is we want to get in a lot of the lighter colors. So if we look at the windows, for example, that's one of the things we want to focus on. The live under here on the ground. So gonna grab myself a bit of yellow ochre and have a look at that. And maybe some of these Lemon yellow, I think it's lemon or cadmium yellow, that should be fine as well. And that's actually going to be be brought us. I will go with that. And let's put that on the windows going to swap to a smaller flat brush and just go over these areas like that. They don't have to be exact. And every bit of Naples yellow for this section here. And over here as well, it's quite bright enough to follow the reference picture exactly. K. Carnival goes over to this side as well. And this area under here. So what I wanna do is while this is still slightly widths wanna go in with a bit of a darker sort of color and be rid of the CNR. Just a bit of doubt down. Betsy, analysts have a tribe that maybe a bit of yellow ochre in. Again. And what I'm doing is basically just adding color into mics around a bit. You wanna reserve most of that yellow is go around and change it up. And what I like to do as well as you know, if you've got a bit of blue dropping a bit of that as well here in there, so I don't keep it the same wash the entire way through. This is just going to keep it a little bit more interesting that k can go down and just try to be beat faster with these spots are already dry it off. Make it too dark. Again, some of these yellow on the lights here. Made up some lights. So let's keep on going. And with the yellow, we're just going to pick up all punch of it and just really go under this whole area like that. And now it looks a bit excessive. But later when we add in all the dogs, make sense. So slightly opaque. Realize that orange and red on this area here. And on the top. I'm going to go with again, a kind of warmer color here. Quickly get that in so that it melts. Some of that gray as well. K columns just implied a bit of the backend of the building there, which I'm going to just get in like that. And there's also some trees here, some green like that. And what I'm gonna do now is start going in to this bottom area. Always time. Slit that all kind of melt and mix like that. And later I'll go in with some darker shadows. But at the moment I just want to get in some of these dark areas to mix like that. Okay. Now, same thing goes for this, but building on the left-hand side, say yellow again. Let's find some areas where we can put it in. So those top floors pretty much prematurely. It may be a bit here, we can imply near the door. And I'm gonna go back and grab that kind of greyish mix and go straight in. And we're going to waste any time like that. Remember to try your best to preserve some of these yellows. Because when we go in with the sky and some of the darker colors lighter, it's really going to help make those areas Pope mole carries all the way down page like that. Might wash me some Barilla too. Alright. So quick draw. I'm gonna get the Sky and now, and for that I'm gonna mix a strong ultramarine blue with some sepia. Get it pretty dark. Almost as dark as you can get it. And let's just go in and go to lodge a flat brush like that. Distributed cutting around buildings that you can put in little bits of white areas and things. Neither the buildings as well, just to imply chimneys and that sort of thing. Cut around everything else. Shopping to a smaller brush. Just be Dhaka. And I'm just going to leave that. Now what I'm gonna do is we're just gonna see if I can emphasize some of these dark areas. Just them dark areas of the windows and here as well. The umbrella door here that's darkness, colliding slightly and safely and getting somebody shutters near the bottom area called myself a flat brush, smaller flat brush. Again mix with the CPR. Kinda try to just do this pretty quickly. Shadows just coming off the trachea. Be quite quick with them. Leave areas of light coming through that k. Some shadows on the people on the left-hand side of them. Join it up to the shadows on the ground. That's going to help. And this is now going to help bring out these figures a little bit more. Okay? We've got some figures on this side and I'm going to just make them darker, more blue. And it's getting some legs. And maybe coming across on that simple sort of shedder warehouse. Can we fund some docs here? This a boat and a figure in the boat here. Quick impression of that. Actually. Don't mind how the umbrella looks dark in it. In some areas. Keeping slide highlight on that sign. Doc and some of this area with is meant to be water. What are these guiding lines on the ground? You have to do tens of perspective. What am I doing? Just slightly down still, but make it a bit taka. Middle ears underneath the windows. So little shadows as it is. Actually don't mind that. It's one of the things I do at the end. Oops. Brush. Brush is some kind of.com done. 4. Gondola Scene: So what I've got here is a very simple gondola, sane. And we're gonna get it in some basic colors with some blew up the top, getting a bit of this kind of a turquoise color in the water. And some of these buildings in the background spray, simple one to start off with. So I'm gonna go grab myself. This throughly in Duluth. And already some colors mix dm, which is fine. It's kind of purplish to begin with, but I'm going to go up to the top area, just making sure it's darker. Just carry that washed down page. As well. As I go down. Leave bits of white in the sky to imply clouds. It's up to you and all the way down. And what we're gonna do, we're gonna carry this wash further down the page. So start off a little bit lighter on the horizon line. And certainly in blue. And I'm actually going to mix a bit of Naples Yellow like that. Just a little bit. It's greenish. Truly included mixed with Nate was yellow. Carry this washed down the page. Like that. Around the gondola. Blew down. More stronger. You're the down like that. Blended all into each other. And what we're gonna do for this area, that buildings just picking up some of this Naples, Yellow thin Washington. And we're going to go over these buildings like that. Clay with a smaller brush. This is just starting to pull everywhere. Whitman width wash. And if you pick up the blue dark color just to this, touch, the area beneath the building and let it bleed downwards and do its thing. Right? That gives us a quick dry time to head in some broad to colors. Call myself a bit cobalt blue. And I'm going in to the gondola. Just define that a bit more. And then the bottom, add a bit more darkness in there. Like that. The figures are not going to worry too much about color, but I just warm this one up and get it ready. And same with these two figure sitting inside as well. Rather than have it all blue. And what I'm gonna do now I'm going to show you how to add in some indications of waves repose in that kind of thing. Saying grabbing a brush that's appropriate for what we're doing. I think probably this smaller flat brush is gonna be good. And I say if I brush because it's just going to make it a lot easier and you can get these gigantic looking wave shapes. So let's mix up some Naples Yellow with either a cobalt blue or Cerulean Blue, kind of turquoise color. K. Draw that off a bit and we're going to do, we're just going to just adding some of these indications of waves and things that keep them varied. As you get down the front, you can make them darker or keep some areas of this white on the paper. And underneath the boat it needs to be darker. So remember to get that concentration of paint somewhat darker there. And at the same time. You can add in shadow around, work around that shadow and just keep getting in some waves, ripples into the water like that. Just increasing in size of the waves as you get near the front. Join that shadow onto some of the waves as well. To get me into the back, just indicate them, making them all smaller. This is really a simple way to do some shock waves. You've still got some of this nice weight on width effecting the background. Darkness and n. And there are some buildings or features in the back area which I just really quickly getting. You can't even tell what they are, but they're just so light. So I'm just going to imply some detail there and that's all I'm gonna do. A finishing touch that's putting some become dark color. You've got slightly again like that. And up to you what you wanna do with these buildings. But I like to imply bit of shadow. Say Iran here. Just define some of these structures. But you really don't need to do much details already in there from the pen. And that's done. 5. Venice by the Water Scene: Okay, so this scene here is a pretty classic Venice saying you've got the Santa Maria della solute up in the background and just some water and some boats common across. So usually when you take the ferry across to Venice, that's one of the first landmarks that you see. And then to the right you start seeing. And I said marks and feed the square. So I'm gonna do is, I'm gonna go and try something really different this time the sky, I'm going to start off with a blue on the top. And we're going to fade it down into a nice kind of orange, pink sort of color. So unless you just applying the sunset. Now, let's go first with these throughly in blue, quite strong on top. Like that. Then what I'm gonna do is just add to this mix and bring that down to a bit more blue in that top. Little bit more stronger. We'll go down now and I'm adding in some pure water into this line, trying to get my brush pretty clean. It's hard because you've got all this blue paint in there. And I'm going to pick up a bit of this red and orange, mixing it together in a thin washes this just touching and connecting on with the blue. That is Hamid went on, went as well if you want. Great. And carries wash down, mix some of it up there as well, that's going to look interesting. So we'll move this wash further down. Read the base. And I'm going to go over the whole thing here to be honest, there's no point sort of fiddling around, go over with a cooler color afterwards. Okay? And now what I wanna do is I want to imitate this sort of color scheme at the bottom. But firstly, I wanted add some darker colors into the clouds. Missing other bit of purple, blue, and red. And the brush pretty dry. And let's try something, just clouds here and they are not, don't wanna make a big fuss out of it. But this is just to kind of demonstrate that you can get these cloud effects in very easily. And the paper is still wet. But you don't wanna go overboard. I want to actually preserve this nice SKY. Define the cloud shapes more as well to structured before. So I'm just changing them around a bit like that. Maybe somewhere around here as well. Okay. That's enough. So I was saying before we're going to go over this area with that warm color that we mixed up, that kind of red and orange. A thin wash of that here. As we move down to the foreground. And I'm going to start mixing in some of these kind of turquoise color that I had before. So if you just get a bit of Blue and mix some yellow in there, kind of creamy yellow. You can get this color. Just mixing, mixing yellow with a bit of white and use that it makes. That's fine to read. It's just a bit more of this red Mary's. Okay. So we carry this wash and want to make it dark at the bottom, especially more of this blue. It's gonna help to document up. And we go. And let's go with some darker waves just mixed in with this sepia and ultramarine blue, almost pure pigment. And we'll start off here, hold the brush closer to the tip. Get some basic impressions. Waves near the top. And we'll just move down further. Add them only went onto wet trying to get them a bit more irregular. Just swiveling the brush around and I kind of think it faster in that corner. I want to just go into that again. You have to change what you can in these sort of wet on wet techniques. When the paper's still when you try to go back into it later, it's not going to work. So you can see I'm actually adding more pigment into the bottom layer. Bottom area Army. Increase darkness near the front. They don't mix in. This area that's almost dried. Even at this point, you can go through and do the background and I'll show you a bit damp. It May sort of spread out in some areas. But sometimes you can get some really nice effects with that, it just looks softer. So mixing up a purple, purple and gray. And this whole area is sunlit. So really you can get it all in one, go. Just to simplify things. And main thing is we need to be very careful with that. Notice as well, I'm leaving some bits of Watson there. Doesn't look the same hallway through actually these tree. So left cannot tell what color they are still gray. But if you want, you can add some green in there, but I'm not going to do that. I just want to get some shapes of them to imply that this definitely trees there, but don't want to fund them to that extent. I think that the grains just going to start detract to detract from other areas of the painting as well. Let's have a look at these buildings. You can add a bit of wont to them like that. And then go in with the blue or purple that you've mixed up before. Just on the top. Left that all mix into each other. Like that. And again, leave some areas of Ys in there. You can cool it down. Now and try getting some of these colors into the boats. And one in the background, I probably will just get in the light wash of Cerulean Blue. Proof of it. We'll go with some Naples yellow and just a little towel down version of Naples Yellow. Like that. We've that to be. This one here. Wanna make stronger because it's closer in the foreground. Kind of cool. So yeah. Sitting in an area where it's warmer, orange, red in the background. The top of it. You really need to do anything with the TV on and so you can just leave it pretty much having that wide there will fill in bits and pieces of it. But a good proportion of it if you'd like. Some of the things I wanna do is just dark and around the bottoms of the boats. And Firstly, I think I'll just add in some waves. So again, I'm going to mix up this turquoise color. Flat brush. Just get some of these waves coming like that. Especially the ones that are heating the boats and the front. Maybe underneath as well, Ikea. You wanna be careful, you don't want to get rid of this lovely light. Allowing my arm to sort of move rather than my fingers. Wage schizo more random shapes, wave shapes anyway. Okay. With that, kind of get some Burton. Darker color again. Really small round brush that I use for this stuff. Don't like using brushes that are really small because it just makes you get too bogged down in details. But for things like birds, that's fine. Notice they also hang around the dimes like that. Psi does try to get some inner around here. Especially in these areas where it's a lot, lotta, where the papers a lot, lotsa, this put some birds and then they do just pump out more. Keys, give a painting a sense of scale. Probably pop too many of them in, but often get carried away right underneath this. But we're going to get in just some darkness using the same brush. Quickly. We shadowed because where it hits the water, you want to dark and because that helps to ground the boat, very important to do. If I had some implies some blue shadows and reflections like that. Same for this one. Like that. And little wooden stakes and stuff in the background. Background. Coming joining up with the HHMI grant and not actually there. But that sort of bridges the section so that it doesn't stick out so much. And I say this one's finished. 6. Gondolas by San Giorgio Scene: Okay, so for this one here, I'm going to actually start out by pre wetting the entire top area with more or less clean water. And I'm going to show you how you can get in. Clouds. Went onto wet with this technique. So cut around the buildings, especially is tower. And these other ones as well. If you go over them, it's not a big deal actually. And while this is all wet, you would give it a bit of time to settle in. You want to go ahead and mix up some gray. So it just makes you three primary C of a bit of red, blue and green, ultramarine blue and yellow, blue and gray sort of. And what I'm gonna do is I'm just going to drop that straight into here. So starting from the top, larger cloud shape like that. Another one coming across there. Maybe a larger cloud joining up over the top like that. You can pick up, drop that into like that, and leave areas of this white on the paper. And all this is going to expand out. We get further down the bottom if you're gonna do any clouds, again, just make them really small. Like these stunts. Sort of fetal round too much. Keep a shakes. My free flowing. I'm going to leave that as it is. You can also start doing things like adding more Painter bottom of the clouds. Just imply that shadow underneath them. And we'll let that thing. In the meanwhile, I'm going to go into the foreground when some of these turquoise color, just the area of the water. Just gonna go through pretty loosely cut around the boats. Just painting here if the water making it Dhaka at the front. And to hear the birds loosely. You've got this gradient from top to bottom. Most likely is. Right now what I'm gonna do is this air, the sky is really starting to dry. My getting a curve. Warmer washes of paint around here. Some sienna buildings to try a little bit of bleeding through this area too. Cooling it down again to the bottom, back to the sienna. Here. Maybe some yellow ochre. Maybe guy. I'm gonna touch areas of the sky and just see what happens. Blooming. Where it's even mixing in with the water layer that you don't get that kind of hard edge at the bottom. So that's one difference between this one and the one that we did before. The Santa Maria della solute, which is quite a hard agent in eighth. So now what I'm gonna do is start going into the bottom area for these boats. So slightly damping here as well. Some planning Ziad, top bit here. Good consistency actually. And just do the same for the rest of them. Usually the most vibrant glue that you can find. And the rest of the boat needs to be darker. I'm gonna grab a sepia mix that in with ultramarine. You can get it. And let's go ahead and do this. Notice that it is blending in with the ground water. Lose effect. Main thing is that these birds have to be darker than pretty much anything else. And while it's still wet, do this droppings and paint, docket painting there. Why? Some reflections? Glad. Some areas have already dried so there's not much we can do to kind of just look like reflections but sharper like here. Let's see if we can get some in here as well. It's already tried. Fantastic. And it's up to you if you want to reinforce these wooden poles. I am going to do some of them, but not all of them. To make some look a bit more irregular, especially the ones that are closer to the foreground. And with your lab brush. What I will do as well is just adding some ripples in the water. Well, can I please joining up some of these reflections and things like that, remind myself to make them a bit more irregular looking. Oops. The lighter bits of the water are just as important as the darker bits that you're adding in. You need to have both in, so don't obliterate old that light. Just making it very subtle in the background. Still there. He comes to the last bit. If you are happy with how this looks, you can pretty much leave it adding some birds, that kind of thing. But if you feel you want to emphasize those buildings a bit more, CSS and Georgia, Maggiore. But if you want to emphasize that, that bit in the background, you can go through with a bit of cooler color as well and do things like, for example, we can talk and bits here. Bring it closer to the foreground and closer forgotten to the ground and the back. And scurvy bits and pieces like that. Leaving parts of the previous layer showing through monitoring one emphasize this bell tower more. And I'll leave that as is. 7. San Maurizio Church Scene: Okay, I'm going to start with this one on the top right. This is actually the Museum of music in Venice. Sand Sam reads here. So it's really nice, sane. And I took this picture actually often sort of stepping outside. And the focus is make it really good watercolor painting. You've got the light coming across this building as well. So let's give this a crack and get started with the sky first. I'm gonna go in with some truly in blue. I'm tough and I'm trying to get a flat wash throughout this entire area. So let me just try to get flats. This is throughly in blue. And remember to cut around the buildings because we are going to make them Wilma, and also because they are in sunlight, kinda around this one, I should swap to a smaller brush. Actually, this would help running out of really in blue. Let's bring this down of good. A lot of paintings pulled out. Let me bring that over to the Saudi area. Let's get this tower at the way. Filling this last bit of sky. And it's more or less a flat wash. I'm going to just lean that bit of paper up so that the water travels down. And if you do get some uneven areas in places here and it's not going to be a big deal because reference photo, you can also see that there are some clouds too. So that's looking pretty good to me. Now what I'm gonna do is basically try to get myself some of this was yellow. She's a SIF can dilute that down with a bit of a bit of buff titanium side tried on that building. Just a whitewash. This and same onto this side of the building to might be a little bit of bleeding from the sky. Let's see what we can do. Sometimes it can make things interesting. Notice the, I use the little corner of the flat brush to getting some of these areas. Flat brushes really versatile and find a lot of people tend to use those little round brushes in watercolor painting. But if you get the charts, give it a tries to up to one of these RAM brushes and see if it works for you. Either find them to be able to paint everything with them. Portraits, landscapes. Okay. And these white and Naples Yellow it slightly opaque. And so that's why you're seeing a bit of this happening here. So I'm just going to try to lift out a bit of it near the windows. Some other areas as well. But when it dries, it does become a little less opaque, but I just want to lift it out case. Okay, now moving on to this area at the back, I'm getting a mixture of Naples Yellow and some of these burnt sienna. So pretty much all through this area here. Go back and grab some lighter Naples Yellow. Blend that in like that. Some of the lighter colors is well here. The more red on this yellow ochre as well. It's going to help carry that down. Whitewash of yellow ochre on this building. That's going to be pretty broad. And the one in the background is almost like a toe down. Burnt sienna, yellow because let's just get that winning. All we wanna do is just getting the background colors first. And looming in the background is also pretty much that same color. The roof we can get in lighter as well. Taka, speed of bleeding going on there. Waiting effect anyway. I'll just leave it. See where it goes. And with this building, let's just get it in. Yellow in and shifting it over to the sides here. Back to the burnt sienna. Like that. Cool it down. The bottom here, behind that region. And we've got this building to the right-hand side, which just kind of getting in a kind of grey color just like that. So therefore the ground, I'm going to grab some of this grey, maybe bit of the yellow ochre as well and drop that in too much water. Just like that. Maybe more yellow ICA. Encourage it to stop blending in the buildings, to cutting around some of these figures. You don't have to cut around all of them. The ground is darker than the buildings, so we need to imply that you get down to the foreground too. You might want to look at adding in some darker colors. What I've done is just cooled it down, edit a little bit more blue into the mixed here. Let me go ahead and let that blending nicely. And That's kinda looking fine. I wanna go over this section of the museum a bit more just to get it slowly data. It'll be a feathering going on here. All right, Todd, to give it a dry. Ok. So now what we're going to be doing is we are going to look for areas where they are shadows. And the main one that I can see is just this one cutting across bearing. So I'm gonna go and mix up some blue. And this is just some ultramarine blue. And I'm mixing it with some of the gray that's left over on the palette. In a medium strength. We wanted to be completely blue, but just have some of this other column mixed into it as well. And I'm going to just do this, try and get this all in one go. So the right side of the building is darkens and then you've got to kind of line that bisects the building here. And even this side is under shadow. So let's get this padding first. That goes around here. Leave maybe little highlights section. And this area interesting or just lighten it a bit like that, dark and individually. Okay. It bit more darkness and more blue. And what you wanna do is, well, get in this side of the building there. And it's going to be pretty dark. And the shadow. And some of these buildings here in the back too, you can always go a lot lighter and then go over it again. If you feel that you're not sure what kind of strengthened need. So my get this bisecting around like that. And this building here is actually a lot taka, like this. Okay. See what else have we got? Sort of this tower light source coming in from the right hand side. You've got to make it all consistent. Getting rid of that roof. And the shadow is cast onto this building here too. So Let's just imply that. Then it kinda comes around like that. Oh, connects up to almost one big shape like that. It's treated as a as one shape. Okay, buildings in the background here, Dhaka. Let's get some of that detail in more blue into this mix. Here. Leave part of the version things illuminated as well. Here. Top sections. Add, put it is darker in this building that's closest to the foreground. And kinda getting some shadow is on. So probably just do one that cuts across like this. Goes straight. Darker shadow on the ground. And we can do another one in the foreground. Here. This is another building that's out of the same. Okay? The flagpole too, which is kind of casting shadows. So I wanted to imply that marine plus the CNR again kinda come across like this. And the steps enough. This little monument. And now you can go through and find places where you think you might want to talk. And most of that area, for instance, and underneath the shops areas here. And we've already done most of the shading in Penn earlier. So there's really not much we need to do, but just doc and a little bit more. Some of these windows here as well. And he's finding areas where you can add a bit of interest. Let's have a look at this building. This is, and we can add a bit of darkness on the here, definitely here like that. And the background like that. And go to dock. And these areas here, I'm just going to kind of warmer Coulomb stock and that UP this little space here talking that we can now look at these buildings and getting some darkness underneath the windows. That flag. And I'm just going to add a bit of red in there. Something warm. And for the figures, Tom to add in a bit of color to them. This one here is the sun and I think we'll get him in some surly and blue like that. Having that contrast on the ground of these kind of warmer color, it does wonders to add some cooler colors over the top like that. And when you've left the water, the paper just makes it stand out a lot more. The others you can do in different conical is it's not a big deal, but it's good to have a combination of some of these cool and warm colors to his legs Docker, and connect onto the ground. There is a few guys sitting over there in the background that we can just employ kind of colors there to blue in there. Dark shadow a little bit. And this helps to smooth it out. These houses as well. Under here, getting a bit of darkness. This 12, that is two in the background. And heterosexually a lot darker. So we can get that in its contrast between the lights and the darks. They tear in the background is left science and not dark enough. So we go over them quickly like that. Actually draw lotto at some details here. Some of this brick work like that. It's getting some of the shadows of these figures. Or just any dark mix that you can find. Shadow, it kinda come in across like that. You can just imply surveys, breaks and things here on this building. But not the thing I can think of is really just too dark and some of these windows and the windows than that, That's no good report from darkening these windows. It's not all that much that we need to add. This one is almost done really. There's just a few finishing touches. Areas that you might want to dock in, things like that. Just darken some of these windows. Especially here. And one here. And also these values here behind. Just needs to be darker. And I'm just using a mixture of this leftover Kind of Blue and Gray, but also just darken a little bag. This fail is holding a blue in there like that. And really you're almost done. I mean, you can just bring some of those, bring a bit of attention to those figures. The ones in the background are ready to do anything with those these buildings windows. And I'll call that one finished. Just outright. Forget finished. 8. St Mark's Square Scene: Okay, we're gonna make a start on this one here. And I'm going to actually start with a warmer looking sky. So firstly, just gonna grab myself some red, mix that up onto the palette with a bit of blue and yellow. Sort of create a kind of warm gray. And let's just get some water into the sky first. And just pretty much went this entire area darker at the top there. And balance it out. I'm still going to add some ultramarine blue into that mix. Up the top limit. Now ten nicely. And continuing down with this wash, picking up a beautiful orange, warmer color. I clap. And I'm really just going to water that down as much as I can. Get rid of some of these paint on my brush. There's some blue left in there. And I'm just going to use this yellow here and basically just do a bit of work around here. Now. The buildings in the foreground, kind of Naples Yellow and I don't want to touch them with any of these paint. So I just cut around those. But you can actually go over some of these ones over here. It's not a big deal. Given these trees that are yellow in here. Bring this wash down the page. And I'm just going to leave these buildings for the time being. But I'm gonna just adding some cloud of fix. A bit of this kind of gray stuff on the palette. You cool the grey with some of the stuff from the corners and see maybe we can have a cloud over here. Just some top few further down. Being careful not to push too much. And underneath the clouds. The ones on top anyway just indicate shadow underneath. Some of the bigger ones. Too much blue. Leave it as that. And next step, we'll move down into these buildings. So Naples, yellow font, a clean spot on my palette here. Need much of it. And if you don't have any Naples, Yellow just mix a bit of yellow with some white. And if you've got some buff titanium, that works as well. And what we're gonna do is just basically go over these buildings below. You might get a bit of mixing into the sky wash. But don't be too concerned with that. Case. Just going over all these buildings and especially these ones up front here. Oops. The screen. Can I get some of the trees? I can saccharine looking green. Ok. do is just dropping the glue to base here. Like that. It's just going to dock in it slightly. Carrying on now, there's actually some water over here. And I'm just going to mix up a bit of Naples Yellow and certainly in blue. Just to getting an impression of some of this water like that. Very basic kind of wash. Moving down to the foreground. Grab some yellow ochre actually, and maybe CNR. So try and see because this ground is kind of a creamy color, but it has a more of a brown tint to it. So let's go over this area, cut around the figures as well as you can. Get this little structure in the backgrounding. Bring this ODE down. You'd be more yellow ochre. In here. We have some of these gray left on the palate who darkened the foreground here for almost a bit of this bluish time because I'm taking some of these are the color that was left on the palate. Is correct. Getting this other bit now on top here. The great thing with when and where it is that you can just alter this color as it still wet. So I'm looking at it now and it looks pretty bright and it's matching the light that's coming from the skies. So really I'm quite happy with that. Originally I thought I would try to match the the picture, but then at the same time I've changed the sky quite a lot. So this color is now matching. Sits, sits well. Okay, so we're going to let that dry off at the bottom. And now I'm going to try to go into the background buildings. So that's the Santa Maria della salute and picking up cooler colors. So let's mix together some cobalt blue, excuse of cobalt blue. Zoom out of it first. Makes up a bit of cobalt blue. It doesn't really matter what color, as long as it's a cool color. Looks alright. Just wipe that paint brush off a bit. And they're going to go into the background here. Skip that domain. And it kind of goes down further. And let's maybe add some detail to the top of the dome. Help his stick out a bit more. And we'll do the other one as well. I'm not going to go over all of it. Leaves some areas of highlights and things in some of the verbs as well. Just leave them eliminated that skin to help. Kay? All the way down to around me, the reshapes down a little bit. It was missing a piece. And in this little structure up front, I'm not really sure what it is. It looked a bit like a shack or something like that at the time. Just gonna get some brown in there. Now let's get some color into these figures. Look a bit more interesting for this guy. I'm going to go with blue color. Let's give that a try. You're of color into these figures. Good. Warm up for this one. Darken the legs. Is one figure in the foreground called Nim. And kinda standing like here. Also got to figure out in terms of the light source where we want it to be going. I think we have it coming to the front and to the maybe there's a frontal, frontal left. Side. Then we can have some of these shadows cross ANOVA. Lets finish off, get some more color into these figures. First, what I'm going to the pellet, I try to pick up almost the pure pigment. And that's going to make it look more vibrant when you apply it to the paper. And if you're not happy with how it looks, you can always add some more color like this that let the colors mix on the paper where possible. Could I tend to do this enough and try to mix up the exact color they want the pallet but tends to go up more fresh when you let it do its own think. Ok. Now Tom to mix up a cooler sort of mix of just got a bit of blue here, cobalt blue mixing it in with some of these gray. And I'm going to attempt to just do some of the shadows of everything. So we're gonna make it come across to the front. Let's try this one that is to the left like this. Up and get in some of these statue here. This one here as well. More details for this building can, the feature's gonna just grab this one down a bit? Because it's in the foreground, is adding a bit of this cooler paint as well. Get a new color for this lamp in the foreground. And also need to add warmer colors here to these lamps. And I'd like to do exaggerated a little bit with some pure yellow pigment. What do you want to use the, I mean, some people like to use yellow occur very light mix of yellow ochre. And for some of these background buildings here, some basic kind of shadows and emphasize the window is like that. This area in this finished. Some older faces. That one around. A few fun on the top here. I've got just to get in counter these lamps here. So I'll just quickly do them that strengthen a bit of color here on that. They wouldn't that one's finished. 9. Venice Canal Scene: Okay, so this little picture here that I've drawn in ease further based on a photo that I took down one of the canals and but it was pretty interesting because you've got some boats going down here, some of these older looking buildings as well. And you can see the brick work coming through. Just what it was a nice shot at the time. So we'll start off with a truly in blue and getting the sky. I don't want this to be the focus of the painting, but it's important to just get it in pretty light. Because everything else in your paintings, can it be compared to that? Getting all the darker values later on? So lets just go around here. Bring that down. Watered down slightly. This area. Right. And her darker hearing is just up to the top. And I'm just gonna leave it as it is extrinsic really. So I just want to get in some of these water. So mixing up Naples, yellow, yellow with blue, creating Santa turquoise color. And I'll start off in the back. It needs to be actually quite thin at the back. Cut around some of these boats and the wall. Another boy, you just really loosely drawn in one couple here with two figures like that. Strengthen it as we move down. Darker blue. Bottom. Sketch again. And to this mix, darker waves very quickly. Just to whet. We don't want to tell the back something simple like this. Getting colors of these buildings, warm colors. And this one closer to the front is a kind of Naples yellow. So we can really just get that all in one go. And just adding some other colors to this mix as well. As we get further down here. Blue and there's, well, it's always important to just keep changing the color. Building is very rarely the same color all the way through. And this is the easiest way just to paint on, imply some of these details. And at the bottom I'm actually going to dropping some burnt sienna here. Same with this building. Just the bottom part of that boating managed to gating ring in a, pay too much attention to that. And just some variations in color. They keep things interesting. Okay, well, let that one that one kind of dry off and it's moving to the other buildings behind MIMO, the visa still that same yellow color at the front here. And these towers, Well, we can get in thin this down because it's opaque. Even just a thin layer you can see it. And a soft and down those lines and you don't want to get rid of all these lines. That's part of the beauty of these lawn and wash paintings. Let's put in some burnt sienna here. Get that to mix in thin layer of burnt sienna. Get these routers in here and get some of these buildings and things in his well, quite quickly, they owe a warm colors. Going to be two. Going to be looking for time, spent too much time looking for the exact color. Okay, say you could actually cause a bit of an interesting seeing their sum, plants growing green and pink. Bow is, and the things here, charges carrying just imply like this. And drop in a bit of glue into this green mix is too broad. And this boats and some bird here, just get that in a bit of red. You can have a bit of fun and make this one blue here and the blue one. And then we'll go back, grab some sepia. Imply some CNR again. That image to reverse. Just to darker sort of ground slash. He is mixed up with all kinds of tiles and things like that. Just getting a general impression of that roof. Here's well, actually a lot of darkness underneath there. In case we're gonna leave this area for a bit more, come back to later and these buildings now. Okay, so let's try getting just the general colors. Because although it does look simple at times, it's really not. There's a lot of different buildings and things over here. So this one is a kind of orangey color. So I picked up a bit of orange, mixed it in with some yellow ochre. And we'll just go over quite quickly like that. To thin wash of this orange. And, you know, in front there's actually a bit of a fence which is darker and gray color. And this building he used well, which is a kind of a warm gray. So get that in. Like that. Not gonna fast too much on the main thing is look at the value and check whether it's wiser are darker. And we know these two buildings are darker than the ones in the back. And I just want to get on a solid background layer. The rest of these, I'm just going to get in with the combination of different warmer colors are not going to spend much time at all trying to figure this all out. The main thing is just getting in some of these data values which will do afterwards. Maybe cool it down here. Again. Here. Like that. Bit of warmer color in there as well. Woman at the top of these buildings. Okay. And that do its thing. Footpath is actually quite dark compared to the buildings. So I'm going to get myself some of these gray that's mixed up onto the palette. And be able to actually get into finance as well as mixing more blue in there. Started with this slide. And to this pass, It's going to get a dark layer onto these buildings. Here. Bit of green for this bush, indicating a little tree there, bush, whatever it is, and continuing down this footpath. And I didn't draw in any figures in here. One of the things you can do in, once you've finished is actually going through with your pen and get those figures in afterwards. I might do that later just to show you. How to do that? In blue here. The window really brought to brought slots and never be like that as one, some cooler color sticking out like that. And let's go into these boats. Was a bit of a warm or cold air. That means on the boat, leave some white as well. And I'll do the same with these burnt in the back like that. I'll probably just Colloredo in to be honest. And to look at these ones in the front. Yeah, let's try this color. And you go with a warmer color. Like that. The bed CNR enough, some of this gray that's leftover in the palette, coaster, skip. Some of the scene. Leave a bit of that y from the paper as well. And there's one up the front here, which I don't want to spend too much time on, but I'm going to gray that down slightly. Indicate that it is a, it is their blue like that hand. Underneath the bird in this area. Hardly that will spread into the surrounding areas of paint. Beauty of a shadow being cast, more reflection, I mean, underneath the boat here. And do the same, just release one quickly, something like that. That's further away. She's not able to see the reflection. Ok, so now to add in some areas, just some waves. We just add some waves in. Just a cool color mixing up with darker color. That's gonna stick out. And we're just gonna do this. My pressure lacrosse, the piper, and I'll let my, my arm sort of do some of these. Not really moving my hands at all by testing some kind of random motions. Get some of these waves in bigger ones in the front. Has always. We say area near the wall needs to be darker as well. And just doc and some of this up. Okay. So these areas under the buildings that's going to be Dhaka. Always look back at your reference photo and that will give you some clues. And just some little waves like that. Nothing, nothing too serious. Okay. Yeah, we're gonna get into some finishing touches in the building stock and up some of the windows. First thing I'm actually going to do is I want to dark and these poles here. And sienna. No, they're not really that color in the photo, but It's just a nice warm color that I think's gonna contrast well, okay. What else have we got? We're gonna go through and just do some of these windows of this ultramarine blue CPM mixed in there. Makes all my darks ultramarine. And a brown produ like to get a very cool color for shadows and dark areas because that's going to help contrast. And the sun's coming in and actually from the right-hand side. So good thing is now if you go through one of in a cooler color and just getting this left side of the building. You can have these really interesting shadow effects. Just be very careful. Leaving that side of the building exposed. Right? Talk and diverse. These pivoting a bit more. And now it's getting some of the other buildings to just not talk enough covering over to these buildings. Check for some docs on here. Like that. You've got these windows which I'm going to dark and more. Bell tower and some areas here to bid of warmer color for the roof. This one like that. And it kind of extends downwards. Here's well, maybe it is gray. This building to dock from liftoff. Some darkness in here. Inside. This one as well. Needs to be darker. Getting the windows and things here. Darkness, Nikola color. This makes all the difference. I'm going to sum over too small a flat brush. And using this flat brush, I'm gonna use a dry brush techniques here to just indicate breaks and things like that. So we need to do just dry it off and then drag it across Piper and some parts. It's just going to indicate small breaks and things. You don't have to draw them all individually and that's in a take you forever. And, and funny enough, it doesn't end up looking like breaks when you do that, just tends to stick out and looks very awkward. So find a brush that soul is shaped like the the thing you're trying to dependent. And we got breaks. It's easy because we need is a flat brush. So there's a lot of these messy brick work at the bottom. You've done this layer. We can go in again, just grab it slightly darker blue paint and do some darker bricks on top of some regions like that. Watercolors all about layering and the combination of all these layers is what ends up making it look good, does end suddenly here. So I do want to just add a few here and there as I, as I move up just a little bit here and there is just so that it doesn't end completely. Just add some kind of little details. I think that's a part that goes down the side of the building. Three old building. Doc. And again, I need to make these darker windows. And you start going over to this side. Again. It's finding areas that we can. It's why we dark in the sides of these buildings here just indicate windows and things like that. And testing does look a bit brighter shoe like I have to dial it down a little bit. So I'm just going to grab some kind of grade down orange. Give that a try. Just a very light wash. And that value slightly. And now it kind of fits in. It doesn't stick out too much. Largest values, probably a lot of these whites, and you've got a tower in the background. These whites are kind of cool as well. So, you know, you don't have to leave and why you can go over and just slightly wet them and that kind of thing. Okay. So I'm pretty much done another thing you can do, the same as I was doing with the Briggs bit of dry brush on the roofs of these buildings here. Like that. And that's just going to indicate a bit of texture to say too much, just getting some of these words be darker and the background to I'll put them in doc and some other areas. Okay. Let's give it a quick dry. Okay. So I did say that I'll go through and show you how to get in some figures and things like that. And so I've given that a dry pretty much with sum. And pick up one of my pens and indicate some figures walking through here, especially in the back-end suite harder because obviously we've already gone through and painted everything, but it is still an opportunity just to put in some details like these. Just indications of people walking. You might even be able to get in some shadows with some water color. And afterwards, guy walking down this side, another person here figures on this bridge, doc in them a bit. And running two. Like that. Rough indication. Once finished. 10. Santa Maria Della Salute Scene: Okay, so I'm going to start here with my sketch of the Santa Maria della slits, one of my favorite pictures. And you standing on the Grand Canal, you can actually see it. But it's only so small when you go close, you realize on the inside it's quite beautiful. It's got a hexagonal Ruth, hexagonal dome inside. And just really quite beautiful. I think they dedicated it to the plague victims of the time. I'm going to pick up some certainly in blue and get that in one go like this, darker at the top. And my plan is to get a bit of a sunset effect. Let's go ahead and get this done. And brilliant and water the speed down more ships, some of this pavement over to the right-hand side. Just some water in this mix here. And I'm gonna go and grab some Walmart paint, mixing like that. And that travel downwards and spread this red paint around as well. Yellow. Yellow ochre might actually be better. As we move down. We kinda ran the buildings like that. Oh, kit further down here. And what I wanna do is add some clouds in a kind of grayish color. So let's mix up grey, red, blue, yellow. Dropped some in here. Some of the papers actually dried already to be light, but maybe some of the sharper clouds could work as well. Let it do its thing. And second, and getting some Erica here. Oops, minutes getting some cadmium yellow lamps. And for this, I'm going to start off with the top with the kind of neutral gray color like that. As I move down, I'm going to then add in some of these pretty much all the way through so that there's no S undercurrent of this color. Cut around this tree will get it in pretty much all the way down. We can get in even these buildings here give burnt sienna. And the background. And yellow again stays. And this background region there. He's buildings a very lights because they are facing the sun. So I'm just kind of indicate that here. Just something simple like that. And as I move down to the foreground, more Naples, Yellow and mixing in some of these gray as well with it. But only go down to where the boats are. Here. Don't go any further than that. So we can get P watering as well. So let's go ahead and do this. Air of the ground is getting in like that. Books and blue. Maybe at the bottom. Just to indicate that it is closer. And the shadows and things like that who are getting once all this is dried. But one of the things I wanna do is just get the water in now too. So if we go in and actually mix up again some of Cerulean Blue with Naples Yellow. Okay, this nice turquoise color. And we're gonna go and do the Sierra, cut around some of the boats like that. Here it comes up weary steps. If it's still a bit when we deal. And you're playing Dana bit. Going through the dam to the foreground now, mix more blue in there to increase the dock. And this little bit of repeated if CPR is in the foreground. And underneath the votes, this one in the front anyway, to indicates some shadows and where you need to worry too much about waves and things like that. Ok. Again, in some colors, for this area of trees and shrubs, have a SAP grain. And they're pretty quickly spend too much time here. But I do also want to dropping some blue because it's too bright and turning attention to this area. Blue in there. Let it mix in and do its thing. And actually I do want to dock and maybe this kind of gate. Right. Now the boats never heading in a bit of orange for this one near the front. Blending with the water, ends up touching that area. Yellow. Just, just draw a bit of interest to that area and the complimentary colors as well. I want to add some reds here. And no blue as well. Don't need to do this in color in whatever color you want. This one I just wanted to make a little bit more vibrant looking. I'm gonna give this a quick thing I forgot to do originally. It was putting some figures. I'm going to try and do that now. Just some simple ones. Usually people sitting on these steps reading books and just enjoying the sunlight. Maybe no one here. Next to small Vegas here, maybe one person sitting here is Give it a try. It's a little bag, mix them. And perhaps just close to the foreground. And a walking towards this direction. This would be walking away. So I've had time now to getting some of the docs on the cathedral and I'm getting some lose some of the gray that's leftover on the palate. And kinda just kind of imagine because we know the light's coming in from behind it. So really there's going to be a little bit of maybe illumination coming on down there. And people will be darker. Down leave line catching some of these pyramids. Triggers just not to color everything in. More blue here of darkness here. This region is darker than what is currently still little bit darker. Especially in some ways. Nooks and crannies. Tom, I get in the shadows now. Slightly larger brush that should do it. And it comes in around here. And the first figure is actually walking in the sunlight, sorry, should have painted around him. And his 1B caused by the actual. We'll go all the way across here. Maybe covering these figures as well. Leaving these ones here. The Sun. Like that. Just simple things like that can make a big difference. Darken down this fella. And it's just gonna do the shadow coming to the Rotten House. Something like this. Joining with two legs. See what other details we can put in here. Maybe use these, some of these buildings in the background side. It's getting some indications of windows and things. Then syndicate separation here, buildings, reforms for the slightly darker burnt sienna mixed in with that little gray. That's actually these buildings to broad time told them down a little. Some of these would impose just the ones in the foreground. Just an event here, coming across, maybe one, kinda across here to clap. Okay, and that's finished.