30 Days Of Loose Watercolours: Northern Europe & Beyond

1. Introduction: To 30 days of loose watercolors, Northern Europe and beyond. If you're thinking about painting, but feel a little intimidated or unsure where to start, you're in the perfect place. This class is designed, especially for beginners, and anyone who's ever looked at a blank sheet thought to themselves, I don't know where to begin. Imagine crisp, snowy landscapes with soft inviting hues, charming villages tucked under a blanket of snow and those beautiful, subtle shifts of light and shadow that make every scene come alive. In this class, you'll see that watercolor isn't about perfection. It's about capturing the mood, the movement, and the magic of a moment. Over the next 30 days, we'll dive into a relaxed, hands on approach that takes you step by step through the entire painting process. We'll start with simple sketches and basic compositions, move to playful washers, thoughtful layering, and finish with some gentle touches that add that extra sparkle. I'll be there with you every step of the way, demonstrating techniques in real time and sharing tips and tricks to help you feel confident and creative. This isn't about rigid rules or having to match someone else's style. It's about learning to let go, embracing a bit of happy accident, or maybe finding your unique voice as an artist, even if you've never painted before. We'll explore various scenes inspired by the breathtaking landscapes of Northern Europe and beyond, inviting you to experiment with loose flowing techniques that let your creativity shine through. So grab your watercolors, set up your workspace, and let's turn those initial uncertainties into beautiful, expressive paintings. It's all about having fun, learning at your own pace, and celebrating every small victory along the way. I can't wait to start this adventure with you. Let's make some magic together. A 2. Materials Required: So before we get started in this class, I want to just go through the materials that I'm using. This is really going to be important for you to understand because in order to get the same sort of effects and colors and, you know, accuracy in some of these paintings, you're going to need similar sort of materials, okay? But again, don't beat yourself up if you can't get all these materials. At the end of the day, it's just best to use the materials that you have. But I'm just telling you so that you can have the highest likelihood of achieving the same sort of outcomes as I have. So let's have a look first at the paper that I'm using. Now, you notice with the paper there's actually a fair bit of texture to it. And one of the important things with watercolor paper is to make sure, especially when you're looking at landscapes like this, that using a medium or a rough textured paper. Now, it's also called cold press and the medium or, you know, medium slash cold press, okay? And it just leaves there's a bit of grain on the paper. Okay. This allows you to achieve these nice smooth washes, gradations you know, basically allow you to really large areas as well and not have water pool in certain spots. So it's very important to make sure that you've got some kind of texture in your paper. Okay? This paper behind here is completely smooth. So if you look at the difference, I mean, it's like night and day. That feels a little bit, I wouldn't say like sandpaper, but sandpaperish. That feels completely smooth. So when you paint on something like that, you are going to get some of these bloom like effects here if you're not careful. And, you know, I've been painting for very long time, and I still cannot avoid some of these bloom like effects. So keep that in mind. So I'm using smaller sort of pieces of paper, as well, I believe this is one eighth sheet. So about A four size for those in Australia, so pretty small sheets of paper, and I wouldn't go any smaller than that because then you're going to have to get too close to the paper, and it just becomes very tedious. So that's all we need to know. Oh, and what I also do is I use bit of tape here. And I just tape the edges down. So you can see all the paintings I have this nice border there. So I just tape it down to a bit of cardboard or a bit of plastic, keeps it steady. And when you're ready at the end, you can peel it off cause otherwise, the paper warps and that kind of thing while you're painting it, it can be a bit annoying. So, here are some other materials. I've got brushes. Now, not going to need all these brushes. I'm just going to show you the main ones that I use. I barely deviate from these brushes, and then I'll go through some of the others. So firstly, these are watercolor mop brushes, and they have a large belly, a sharp point, and they're very soft. So this allows you to get in large areas of color, like the sky in this particular scene. Here, if you use something like this, a little round brush to get in that sky, you're gone. You're going to have to keep refilling go backwards and forwards. It's just going to be a mess, and you're not going to get a nice smooth wash like this. These brushes here, the round brushes are basically for detailing. Now, the larger one here, you can get away with painting larger shapes like mountains, the side of a house, that type of thing. But even for the sky, you know, the only thing you might want to do is some of the green bits here. But the rest of it, there's no way you can even use a large round brush out there. So round brushes are for detailing, they're for control. You know, therefore, you know, little bits of line work, and mop brushes for larger areas, smooth washers, clouds, that kind of thing. So what are these other brushes that I have here? Let's have a look. So these are some rigger brushes, okay? These are kind of special rigor brushes, but the normal rigor brushes that most people have just will have this center part of the brush. Like a very pointy, long tip. Okay? This just a reservoir, holds more water. Now, these brushes are great because it allows you to get in little details like this. The trees in the background. I did these with the rigor as well, okay? And, you know, it holds a lot of paint, and you can get really fine thin lines. If you go in, even with a smaller round brush, it can be difficult to do that. So it's a good tool to have. It's not 100% necessary, but it's good to have. This is a fan brush. As you can see, the head is shaped a bit like a fan, so it allows you to get in these little brush strokes that resemble tufts of grass, things like that. I just use that for texture from time to time. I'm actually due for a new one. This one is in terrible shape. Coming up next, we have these brushes here. So these are like, flat brushes. I use these sometimes, and you probably only just need one, if anything, okay? These are more of a bonus. And sometimes I will use them, for example. Let's see if I can find an example here, you know, the downward brush strokes for some of these cars, you know, the reflections. It just makes a sharper and a squarish shape that runs down, okay, rather than using a round brush like this or a mop brush. So you probably use a larger mop brush to accomplish the same thing. That's just an optional tool that you have available. It's not 100% necessary. We've got three different ones. I barely use any of them in my paintings. This here is a filbt brush, okay? So this is basically a little brush with a a kind of rounded tip. But how should I put it? It's like kind of being blunted off and it feels very soft. So this is used to right at the end to paint onto certain areas, lift off paint to create a bit of softness. I don't think I use this in this particular course, but it's a good one to have sometimes at the end to correct mistakes, to lift off paint. Okay. But that's basically it. I've got a bit of towel here, you can see, it's very dirty. I just use this to control how much water I have on the brush. It's really important to have that or at least some type of paper towel or something. Okay? Now, moving on to paints. Okay, these are my paints and my palette. Looks really messy. Don't worry about it. A lot of the time, when you're painting, you're gonna mix a lot of these together anyway, and they're gonna make a really nice grayish color that you can use in many areas, okay? But, of course, in some paintings, especially when you're starting out, you're probably best having a very nice clean palette. I can get away with it because my mixing techniques are a lot better. Yeah. So let's start off with how I arrange my palette. So on the left side here, I've got all the warm colors, okay? So I've got an Indian yellow, yellow ochre, which is a granulating yellow. Indian yellow is more of a nice golden sunset yellow. You can also use a quinacridone gold. That works well. This is Pyl orange, Pyl red. I've got a quinacridone burnt orange here, which is a granulating orange. Okay? This is not necessary. It's just another color I have. I've got Hansa yellow here, a very vibrant, typical yellow, bright yellow. Cerulean blue, really important. This is how I paint skies, sometimes water. I've got a lilac here and a turquoise, okay? These are colors that I can sometimes use from time to time to get in, you know, an interesting piece of clothing or, you know, some water. I don't use these that much. Ultramarine blue, this is essential. It's a quintessential blue. You can get away with just having the ultramarine blue. The hs are yellow, and a red. Those three colors really will get you through this course, maybe a brown. Moving on, we have a couple of browns here. I've got burnt sienna up the top. And further up, we have a raw umber or burnt umber. It's just a darker brown color. Now, I've got a undersea green here, which is basically a dark green, a granulating dark green. And the rest of these are basically just purples and pains gray slash neutral tint. So these are really just dark colors. I use a lot of purples for shadows. You can, of course, mix your own purple. If you've got a ultramarine blue and a red, mix them together, you get a very nice purple as well. Now, there are a couple of scenes, a couple of class projects in this class that have some granulating paints. Now, granulating paints create this kind of effect, as you can see in these two. These are the actual scenes, or there's quite a few of them. As you can see, they create this sort of effect there, where the paint separates, you've got another effect like that there, and this one's quite quite an obvious effect as well. Okay? Now, the paint that I'm using for this is Mars black or lunar black. And that's basically what creates this kind of effect. It's a kind of iron oxide pigment. I mix it in with some other pigments as well, as you can see a bit of that green bit of purple. As well as that, I do use some other granulating pigments like ultramarine blue is granulating. A lot of these purples that I use as well, they are granulating purples. So you just need to check the tube, ask around. And yeah, for those particular lessons, I'm going to be using granulating pigments. And it's an effect that some people like and some people don't like. But I think it's good to have it in your repertoire and, you know, give it a try. So that pretty much sums up everything that you need, apart from a small water container. Normally, I just use a little tupper like a little plastic container or something, a water bottle, a recycled water bottle. That's important as long as it holds a decent amount of water, you know, ideally, 700 meals to one liter of water for mixing, so you don't have to keep on emptying it and refilling. Some other miscellaneous tools that you might see me using in this class. I've got a spray bottle. This spray bottle, of course, just sprays a fine mist. Okay? I've used this quite often from time to time to re wet areas. Sometimes sometimes I'm not fast enough, and sometimes you just once you need extra time to work into an area. That areas drying off. The spray bottle is going to allow you to do that. If you just drop water in with the paintbrush, it's going to bloom. It's going to disperse. That water is just going to be too concentrated in one area. It's just going to cause a lot of effects that will annoy you and potentially ruin your painting. Spray bottle really important as long as it produces a fine mist. I got a mechanical pencil here. Any kind of pencil will do. We've also got an eraser here. And surprise, surprise. Interesting little tool here. This is a little pocket knife that I use to scratch off details. So here's an example here, okay? You can see you've just scratched off some little indications of grass, okay? This is important for some scenes. And another thing you can use is just a bit of plastic. You've got a bit of bit of credit card, you know, an old credit card you don't use. Kind of a little piece off, shape it into a point, and you can use that even the corner of it to scratch off paint. 3. Day 1: Watercolour Essentials: Okay. So before we get started in this class, I really want to go through some essential watercolor techniques and some background knowledge. For those of you who are just starting out in watercolors or maybe looking for a bit of a refresher, it's quite important to understand this. Now, firstly, I want to talk about choosing a brush. So you need to choose a brush based on the shape that you're painting. So for example, let's say, over here, I have got a square, okay, and I've got a circle really basic a square and a circle. Now, with the square, there's a couple of brushes that you can use. So you've basically got a flat brush and a round brush, so I can pick up a bit of water. Let's pick up some paint here on the side of the palette, and I can just easily go through cut around and paint that square in with the round brush. Now, I can do the same thing with the flat brush here. Okay? Here you go. Just going to paint into that area like that. Okay. And as you can see, it's a little bit easier when you're painting a shape like a square, and you're using a flat brush because the flat brush already has the same shape. If you look at it, there's the same shape as the square. Now, if we try to do this same thing with the circles, you can find a bit of an issue here. So let's go with the round brush. Here we go a little bit easier, okay? Move in. Now let's go with the flat brush. Okay? This becomes a little bit harder, but it's still doable. Okay? It's still doable, but with a few more brush strokes. Okay. So I guess what I'm trying to highlight is sometimes when you're painting buildings, you know, a flat brush might be better to use, especially if you're painting a bunch of silhouette of buildings. Now, it's not entirely necessary. I just use a round brush. I can paint anything really with it, the same, you know, same shapes that you can, but it just takes sometimes a little bit more a few more brush strokes, okay? Another thing you're going to have to keep in mind is, you know, is the thing that you're painting? Does it have, for example, a lot of detail, a lot of sharp little details and points? In that case, you might want to use something like this rigor brush. Rigor brush has a very fine point, very fine tip. Almost like a needle tip, and look at this. You can get in little details like this, you know, like these tree branches, and I use this a lot in my paintings. Okay. So that can be useful as well. What if you're painting a really large area? Painting a really large area. These brushes are not going to hold much water. So you're gonna need something like this, the mop brush. It's a brush that basically has a sharp tip, but a really large belly holds a ton of water, so I can go ahead and pick up some color from the palette, and look at that. I can just keep on going, paint this entire area of the sky even without re loading my brush. So those are the main things that you're going to have to keep in mind. You know, there are these little other bonus brushes, I like to call them like this not rigor brush, or fan brush, which can be used to help create some little details like grass and stuff like that. It's not entirely necessary. It just saves a bit of time. But brush choice really important because if you don't choose the right brush, a lot of the time, you're going to have some issues. You're gonna run out of paint too quickly. You know, you got to really look at the shape that you're painting and think, you know, is this paint brush really gonna carry through? Do I need a larger paint brush to paint that? Say, if I've got a smaller circle, you know, a little circle, I can get away with using a tiny little round brush like this, okay? But if I'm painting a large circle, there's no way this brush is gonna carry enough paint, you know? If I paint a person, this is perfect because I can get in just enough detail. Okay. And the brush is able to carry me through. So quite important to be choosing the right brush. Can't be using some gigantic brush like this. Gigantic mop brush, and trying to paint a person. Look at that. It's just the waters going everywhere. It's creating a bit of a mess unless I want to paint a really big figure, okay? So yeah, important to choose the appropriate brush. Okay. So the next thing I want to talk about basically some techniques. So wet and wet and wet on dry. Let me just flip this around a little bit so I've gotten more space to play with here. So wet and wet is basically a technique where you, as the name implies it, paint into a wet area. So say, we've got a sky wash here. Nice little sky wash for that. Just a quick thing like that. The paint is all wet. Now, I'm going to do another one down below so I can, uh highlight wet and dry in just a moment, okay? So hopefully that will dry off in time. Now, this area is wet. If I go ahead and pick up some other color and drop it in, check out what happens. The paint moves around. It spreads a little bit, doesn't it? Okay? It doesn't stay put. The edges of the paint appear a little bit furry, okay? And soft. Less detailed, okay? If I paint on this bit of paper here, that I haven't wet at all. Look at the difference. It's sharp, you know, it doesn't it doesn't the paint doesn't move around. So when you're painting things like clouds, distant objects, wet and wet is a really good technique to use. It's quick, it's effective. Even when you're painting landscapes up close and you want to, you know, for example, get in some greens, some little bits of grass and stuff like that. You know? That's a really good way to imply you know, a bit of grass, you know. At the same time, I like to combine both techniques wet on wet and wet on dry. Okay? It just blends in nicely, as you can see here. But again, you're not going to have the contrast, the sharpness that you get, okay? So whatever you put in there, while the paper is wet, it's going to spread. And my biggest tip here is to make sure that you're using enough paint on the brush, okay? So here I'm dropping in quite a lot of paint. I'm not using almost any water on the brush, okay? Because let's say if I put in a lot of water into this mix and drop it in. Look, it's just too much water, and it mixes everywhere, okay? It causes a mess like this. So when you're going into an area that's already wet and you want that brush stroke to still, you know, still appear as a distinct brushstroke, you're going to need to add more paint into that mix and less water, as you can see there. Now, this bit at the bottom has pretty much dried off. So we can do the same thing here. For example, let's put in some. I'll use a bigger brush for this. Let's put in some background details. Let's have a look, some pick up some of this paint. What have I got here? I'm using a lot of leftover paint. It's gray, mountain or something there in the background, okay? Look at how the edges are sharp. They don't blend or, you know, they don't have any furry edges, like up the top. This is wet on dry. This is what you use for control, okay? This is super important to know the difference because people often get frustrated when they paint a brushstroke and, uh, you know, the paint moves all over the place, creating a gigantic mess, or it just looks too sharp and rigid. So yeah, very crucial. Very crucial to do this to sort of practice little these little exercises, okay. Another thing I suggest is also wetting the paper, letting it sit wet for a little while. So, for example, just let it sit for a little bit longer here, and have another square here where you just paint and then paint it and then go straight into it. You'll notice that at different levels of wetness, the paper reacts differently, okay? The more wet the paper, the more spread of the paint when you drop in some additional paint. So the only way you can figure this out is by doing it. I can explain this all day, but you really need to train yourself to recognize the importance of timing. Timing and wet and wet techniques, wet and dry techniques are so important. If you get the timing right, then you can get the effect and the form that you're after. In this section of year, if we're getting soft abstract shapes, the timing there is great. Goes straight in. It's already wet, go straight in. Something that's less abstract and more defined. Not going to move around once you put the paint in there, wet on dry. That's what you do. And you never just use one in every painting. You often use a combination of both. So you might have some clouds there that are nice and soft, and then you have this sharpness, and I find the combination of both of them both of them are just together make a really magical sort of painting. So it's not a matter of which is better. They're just tools in your toolbox that you need to employ. So another thing I talk about a lot is light and shadow. I only touch on this for a little bit. But let's say, for instance, we have a let's have a house or something here, okay? Side of a house, okay? And we'll do another one here as well. Highlight this, okay? Good. So we can have the light source coming in from this way and from this way. Right? And in each of my demonstrations, I will show you how to basically paint the light in each scene. But this is more of just a quick quick one to get you started on the concept. Now, Let's say that the light's coming in from the right hand side, right? So you're going to have a bit more a lighter sort of wash. Oops, that's too dark. A little bit of a lighter color here on that right side of the building because, of course, the building is catching some light. Now, same thing here, you're going to have maybe a bit of darkness on the right hand side. Great. Great. And that's the light here on the left hand side. Now, what I gonna need to do? Because the lights coming in here from the right, you're gonna see some darkness on the left of the scene. So here bit of darkness. Okay. So you're going to get that sort of pattern. Not only that, you probably get a bit of shadow running across as well. Okay? Depending on the angle, sometimes the light might come in on a really weird angle and the shadow might come out like this, even, okay? This one here, it's quite simplified, but the same sort of deal here, you might get a bit of shadow running to the right. Okay, that. And, you know, window or something there. So these little exercises are fantastic to practice on because this is just one value, one color. But you can focus on just that one color, the strength. And one thing I really love doing is just picking up that same one color, and let's just say I can go like that. Even lighter, add more water. With watercolors, you just have to add more water in order to lighten a particular wash. That's the only way that you can lighten something. To darken it, you add less water. Okay? So it's a higher concentration of paint. Let's add some more. Oops. That's too much, but you get the idea, okay? It's even more and more. Okay? So, the more paint that you use, and the less water the darker. The darker the wash will be. Now, this works for pretty much everything, but it's more it's more obvious with darker paints. If you're using a yellow, you're going to see the same effect as well, but it's not going to be as obvious, okay? And what that means is that there are some pigments that have a higher range of values that you can get from them, high tonal range. And some pigments like cerulean blue and Hansa yellow, you might only be able to get a few different shades and you can't tell much difference. So really important, you know, when I go through the demonstrations, you're looking at the reference photos, really ask yourself when you're painting something, look at the photograph and think, is it light? Is it dark? Is this part of the building lighter or is it darker than the other part of the building? Okay? Everything is in relation to the light on the building. It has to be painted in relation to the darkness. So another little tip, I'll suggest, as well, is when you look at the reference photo, you can squint your eyes a little bit, and if you squint, it just reduces the complexity down so that you can focus more on the values on whether something is light or dark. That's another little trick that I learned along the way. So, let's have a little practice and sketch some basic things that might appear in this course. Now, the first thing I'm going to sketch is maybe a tree. All right. Now, we got a tree starts out with like a trunk, of course, so a wider sort of trunk at the base. And I'm just using a little round brush, okay? Just paint like that. And as you go up, I like to just lift off the paper a little bit, have a lighter touch. And here, you can then start to create these branches that come off the top like this. Really important little branches. So there you go. Little branches. You just lift the brush off a little bit. Okay? And straighten out that tree, maybe get in a bit of a shadow or something to the left like that. That's a basic tree. Okay? You can use a rigor brush. A little a little brush to do the same thing might have, like, a thinner tree that just runs up, and then you've got some branches off like that. That's another tree that you have. Okay? Notice at the branches, they sort of split off into two and sometimes in very random sort of ways as well. Alright. Don't make them too you know, too similar to each other, the branches. But there's still a general shape, but sometimes some branches will go off on a tangent here and there. Now, you might have some grass. So you can use this little rigor brush to flick in a bit of paint like that just with some grass. Look at that simple just move that brush around like this, and you can get some nice grassy effects. Alright? Around the base of the tree. This takes a little bit of time. So sometimes people like to use something like a ban brush like this, which just is a brush that has these multiple bristles that are flayed out in ways so that they appear to be a you can draw multiple lines, okay? This is a great brush. I use this from time to time, and I use it in this scene as well in this class, I mean, so look at that. In a quarter of the time, I could have done that with the rigger. But the rigor does allow you to get much more detailed blades of grass. So I wouldn't restrict myself from using one or the other, okay? Some little bits of grass. Now, let's try painting some people, you use one color. So people. So the important thing when painting people is the position of the head is so crucial. So I I've got the head here, versus I'll have the head slanted to the right a little bit and slanted really, really far to the right. We'll get the body on. And the head is kind of like an oblong shape I I paint on. There's the body, kind of like a longer oblong slash rectangular shape. There we go. And then we can put in a couple of legs at the base. Maybe the arms down at the side. So that's a person kind of walking through maybe. Now, this one here because the head's slanted to the right, you can see the body now comes off on this angle, which means this person could be running. Yet again, this one here, person really sprinting, you know, sprinting to the right. So the head position is where you want to start first. Sometimes you might want to paint a person that's just standing in sideways. So I'll do this. Um, paint the head, then paint the body in like this. And then I'll put the legs in right at the back like that. So it looks like they're sort of just standing on an ankle, okay? Let's do it again like this. There we go. You join the legs up at the back. So they kind of look like they're standing to the side. These two people could be talking to each other. And again, you change the The slope of their heads, as well to make it look like they are potentially talking to each other. And when people talk to each other, their heads kind of face and slope a little bit towards each other. So this is a good exercise. There we go. These ones look better. A hand out there, maybe they're talking about something like that. Okay? These are the basic figures that you need to, you know, paint in this class. They're pretty simple. Okay. But when you have a combination of these figures, you know, you can really get a complex looking scene, make it look more realistic like there's actually people walking through, you know, different stages of action doing different tasks. Now, that's pretty much it. I could go into buildings, but we have talked a little bit about, you know, we have used that exercise up there. In terms of buildings, the demonstrations will more than cover how to paint each building in each particular scene. 4. Day 2: Aurora Drawing: Okay, let's get started with the drawing for this one. And I'm going to leave a bit more room at the bottom of the scene to imply, like, some snow and let the house actually sit on a little bit more land. Now, the hardest thing in this scene is really drawing the house. And we've got this triangular bit there. Runs across, runs down, you've got this other bit here. These Scandinavian houses have, like, a really interesting look to them, and I think it's worthwhile paying a bit more a bit more attention to make sure you get in the general structure of them. So that's the rooftop. It runs across like this. Runs down here, okay? Good. Just really observe the lines of the top of the house because some parts are, you know, basically very squarish shape, as you can see, kind of rectangular shape. There's this side here that pops out there, and then it sort of comes down, and then that joins onto this part here. And there's a ton of snow on the roof, as well, as you can see. It's just a ton of snow. So I really want to make sure we imply some of that too. Okay, that comes down there in the back there, where is this? Actually, how far does it come down? Maybe there? Yep. And then you've got this sort of left section. I don't know what that is, like, another roof sort of area there, and then it just runs downwards. It's difficult to see what's exactly in the back section, but that's roughly it. And here, we've got this bottom part of the house, and with snow and stuff here in front of it. But that's basically it. I mean, basically it. So, a couple of windows, let's just put those on here first, just on the side of the building there. You've got a couple here as well. On the side there, there's a window here that's a very bright. There's a bit of light coming through. There's one here, and there's one here next to it. Also, there's lots of light coming through, another one here that's darker, sort of a doorway or something there entrance. The houses actually a lot more detail than I initially thought. But that's good because I think it's going to I think that will work very well in this scene. There's not much not much detail in the sky, so let's put in this mountain running throughout the back, runs down there, then you've got, like, a darker sort of mountain on that section. I think there's another another mountain. Maybe I just make it taller so that it comes out more this down, and then it kind of gets darker at the base, and there's, like, a shrub or something here runs over to the right hand side. There's obviously some little trees as well that stick out from behind the house, which is going to be very important to make the rooftop come out. I'm going to outline that roof a bit more a bit harder like that, so then just come out for a little bit more. Okay, let's have a look. There's a lot of stuff here. There is a bit of snow. I mean, just all across the bottom part of the scene, you can see bits of snow. And it's difficult to determine exactly where the light source is coming from. But it seems like the right hand side of the house is illuminated maybe by an external light running to the right. You know, it could be like a car coming in. So I'm going to just follow this general light pattern and imply maybe these mounds of snow that have a bit of a light coming from the left or shadow running to the left, and this should be good for our painting. 5. Day 2: Aurora Painting: Okay, let's now take a small mop brush and what I want to do first is do all the mountains and what have you, because the sky is a lot darker than the mountains, so we want to leave that till a little bit later and make sure that I've got some color all these mountains. Probably just a large round brush will do the trick, as well, like I'm using here. Okay, let's pick up some ultramarine blue. I'm going to pop that in board this kind of mountain, and even a bit of cerulean will do the trick, as well. Okay, let's just get this here, okay? Something like that. Coating around the house a bit. The the tops of the house, we do need to put in a bit of this color as well to imply the snow. Again, it's just that same bluish value that I'm using. Bring that down. Even if it's just to tint it a little okay. It's a bit of mountainous region there off in the back as well, that's also going to be a little bit. You have a bit of bluish tint to it as well, like that. Good. All right. Moving further down, I'm going to maybe grab some purple and see if I can feather some of this purple through the blue and make it just a bit darker down the base. Okay? A bit darker down the base. I'm not fussed at the moment if there's a bit of white left behind, but this does need to be a little bit darker. I've got some black paint, especially just to use right at the base here to really bring out that darkness. Needs to have some of it here on the right, as well. I don't want there to be too much like color, vibrancy. I mean, just have enough in there. These trees might be green or they might be purplish, you know, it doesn't matter. I just want some kind of darker contrast here for these trees, okay? Just move along, same purplish value, move along to the right there. Good. There we are. It's looking good. I'm gonna actually apply a bit of that over to this side, too. It's just missing out some of that color. Even on this part of the mountain, there's, you know, you can see a bit of darkness there. There's even a bit of darkness here as well on the mountains. So this is I think this is going to help create, again, this illusion of light on top of the houses, the house. I mean. So's have a look. Good. Now, the ground, we're going to just need to put in some of this bluish value again, really light. We're going to keep this, like, really light. It's almost all water. Some of this stuff might actually, I might skip over part of that. Yep, then I'll continue on like this, make it a bit darker here at the base. As long as it's kind of bluish, it comes up like that. There we go. So we have some snow shapes. All right. Simplified snow shapes. And a clear separation in the background as well. Alright, I'm going to put in a bit of color. Now on the building, I'm going to pick up some kind of creamy creamy sort of color. Now I'm mixing a bit of yellow with white guash and just applying it into the house, the bottom part of the house here. Let's just see how it looks. That's okay. I mean, really, it needs to be the entire thing like even here. Let's just do that as well. Remembering a cut around those windows that have some light in it because I'm gonna also drop in a little bit of light, bit of yellowish contrast. Let's grab this drop it straight in. It's just a really bright yellow there, and there. Oops, it's kind of spreading throughout. I don't want it to spread too much. Um let me just grab some of that creamy color and go back into it again. So no big deal, but, yeah, that's a little bit too much of that yellow that spread, but we can get away with it. Just look more vibrant. That's all. Okay, moving on to the sky bit now, and this is the fun part where we get to paint the aurora. And I'm going to be picking up some yellow mixed with a touch a touch of green. Maybe I can actually just mix this with ultramarine blue. Yeah, there we go. Just a bit of this Indian yellow. In fact, Hansa yellow will work very well as well with a bit of ultramarine, touch of ultramarine in there. And I'm going to put in this kind of section like that there. And what have you got a bit here, just a bit of this so you can see, just a bit of this aurora pattern, yellow and blue, right? Yeah, so I make it this classic green aurora color. Yeah, you can see some warmer values as well, like almost like a bit of reddish value here as well. Why not add in a touch of red in that section. Keep it very light. When you're doing this, it's almost all just it's almost all just water, you know? Okay, I'm going to spray this down a little. Good. Bray it down a little so that it stays doesn't move around doesn't move around too much. Okay? Maybe some more bits like that. Okay, maybe a bit here. 'cause I find that it's if you're not careful, this just starts to evaporate once you put in all the darker values. So I'm going to grab out my mop brush now, and let's mix up some purple. Got some purple already here on the palette, bit of purple, different kinds of purples that's of blue and it's well in there. Bit of ultramarine. Let's start off at the top here. See this color. How does that appear? That looks alright. Start off at the top. Now, this is where you kind of got to be very, very careful. We kind of just touch on to some parts of it. And then leave leave it to sort of seep in, leave that color to seep in and do its thing. Okay? Move through. Let's have a look here as well. If you get these little furry bits, that's fine, as well. Just leave them B. And sometimes I think it helps to leave the leave the palette. Not the palette but the the board so that it's completely flat, right? And then in some sections, you can move it downwards like that to encourage it to run. But most sections, really, you want to just let the color seep through, do its thing and try not to alter it too much. Sort of just touch on to the some sections like that. There, look there around the greens, try not to go all the way into the greens. Like you're just letting it by itself, just mix in by itself, okay? More purple. I really like my purples. And the darker you use the darker sort of purple that you use, the more detailed, more vibrant and brighter the aurora section will appear. So see how I'm just continually feathering in more paint as I go. This has got a bit of black mixed into it as well. And I'm also cutting around these mountains as well. This is tricky. I'm just doing two things at once, cutting around these mountains and also trying to leave those greens in there. Those amazing greens. Okay, here, same thing. Let's just cut around that mountain. And here, here. Same deal. You leave the paper flat, it just means that it will dry off and look more like the same once it dries. So if you're slanting the paper, all kinds of, you know, which you can do, you can do it like this so that you get a bit of movement. Have to be careful. You don't do it too early. Okay, so I just slant the paper like that. And continue on, as you can see, just adding in a little bit more paint in areas to encourage that aurora to show through. And you get this nice fluidity, this movement of the paint as well, as you can see. Okay, at some point, I have to stop doing this because it will become too overwhelming and it won't blend as nicely. So probably at that point now, We can even slope the paper the other way like this and the lighter portions will flow into the darker portions. While the paper is still wet, just a great little trick. Okay, fantastic. So the top part is now dried. Let's work a bit on the house. So we can see here on the left side of the house. It's pretty dark. So I'm going to pick up a bit of black, a bit of brown E and I just want to get in some type of darker value here on the left hand side, but I also don't want to make it too dark. So let's see how we go. Maybe this is good. You always test it a little bit first and then go into it. I'm gonna touch off actually with the roof, but it doesn't matter. We still able to indicate close enough. Now, there is a bit of darkness here in the roof. Can you see in here, there's this kind of section where there's a bit of darkness here. In fact, it's kind of you can see a bit of shadow cast by that part of the roof, even there, there's even a bit of darkness underneath that part of the roof. You know, you just, um, putting in those little details, indicating them there. Okay. Now, here we got that part, we're just going to cut around the light. Here we go to indicate indicate it better there running downwards. Okay. And there's a couple of windows here as well to the left. Plus, of course, these, like, bits that run downwards like that. I can't exactly see what's there, but it's close enough to what we want. And I'm using this sort of purplish value down at the base to create extra darkness down at the bottom. So that it sort of it just looks darker here. And there is a shadow, you can see, that's just cast, you know, all the way to the left. It's pretty dark. So we have to make sure that this is implied, you know, some of that running through a bit of that shadow. Again, it just looks like maybe there is a car or something that's casting, you know, creating some light and So this trying to just imagine a bit of snow, like a mound of snow here, and perhaps it's just casting some shadow here to the left, as well. You know, there, I'm just picking up some little details and trying to indicate that. Okay, that's mounds of snow. This is just bluish value, really, a bit of bluish color that I have leftover on the palette. And a lot of this stuff I'm kind of just making up because if you think about it, it's, uh there's nothing here in the reference. I'm just extrapolating from the reference. Yep. This is like a larger bit of snow or whatever here. The I look just I'm trying to remember not to overdo it. I can be a bit zealous at times overzealous. Darkness at the base. Runs up here, there and even inside the buildings like here, you can probably put in a bit of extra darkness underneath the roofs and things inside here, for instance, as well. Um, yeah, it's just a bit of extra detail. There's these windows here that I'll just indicate with a bit of this darker paint wet onto wet. Oh, that doesn't look too good, but it's close enough, I suppose. Yeah. Let's have a look. Where else do we have some contrasts in there? Maybe that part of the house? I do notice inside you can see in these mountains, there's, like, a bit of you see these, like striations in the mountains. I'm just going to imply scratchy little sections like that. This top part, there's actually a bit of something there, like a bit of shadow or whatever, soften that off a touch. It's always important to soften some parts off so that it doesn't look too sharp where you don't want it to look sharp. Okay. Just again, reformulating and just seeing whether this is all making sense or not here on the left side because we've got, of course, some darker sections and lighter sections in here. That need, you know, implying two Here we go. It's kind of like another layer of shadow, I suppose, you can just put in over the top in some areas. Helps to split this up a little bit, this whole section, um, So, look, there's bits and pieces here in the ground. Like I don't need much here, really, just a bit of dry brush. Never underestimate how much a little dry brush work can bring together a painting, make it look like there's texture or details there when there's actually not much at all. Here on this building, you see there is actually a bit of shadow underneath the rooftop here. So let's put that in. It goes all around the windows, actually, like here. Sharp edge. Like that. There is also a bit of, you know, darkness up here in the rooftop here. It sort of like the mound of snow. It's like that little lip, the edge of it, really, that has a bit of color up on the edge, something like that. These could probably do with a bit of darkening up here for these trees. Some of them anyway. I don't want to do it to all of them, but there are some like, I don't know, maybe just on the edges of the house, like here to bring it out. Just a technique that you can use. This is just a bit of darker paint just feathering around. I don't want to get rid of all that background stuff as well that actually looks pretty good to me. So like just a purplish, dark mix, really there. Um, can even see behind this area there are some little trees that we can imply, like, little brush marks for this stuff. Yeah, maybe a smaller brush will work better. Smaller Rigor brush. Okay. You can see here there's just these, like, I don't know, indications of trees or whatever that are running upwards. You can see some of them even here, like a little little, you know, one little marks running through. So this is to indicate some of that stuff. I might even could put in a tree here as well, make it look more balanced up, like there. But this stuff helps to make it look like the house sticks out more. Here as well, there's a portion here that I need to do. It's just not really, there we go. And I'm just feathering the brush off in spots. Don't have to connect all the branches because if you connect all the branches, I find that it starts to look a bit unnatural at some point. I'm not even looking at the reference to draw these in. I have enough enough kind of brushstrokes to imply what's there. Okay. Good. You do these frames of the windows a bit better. Let's try to do some of these whoops. This part of the building here, especially that's kind of reddy. Dark. Actually, so that extra darkness in there would be good. Uh these windows, well, that Just balance some of these up with a bit of darker sections as well running through some parts of the snow. This. Okay. Now, last thing I want to do is just put in some of these, like, marks that run across the building you get in these Scandinavian houses 'cause they're made of just planks of wood. So a bit of implying this would be good. Let's see how we go. Yep. So it's just like some horizontal lines running through like that. Okay. And we'll do it here as well. It's very light color. Don't overdo it. Oh, got it to the window. Damn. This is tricky. Probably just do that separately here. Good. Yep. Okay. And we are finished. 6. Day 3: Snowy Village Drawing: Okay, let's go ahead and get started with this drawing. And we've got this nice little town here that's, you know, situated on the side of this road running through the center of the scene. I really like this composition. There's a bit of division. This road forms a natural division, and it kind of comes in around the third of the way mark up the top here, dips down a little bit, starts coming down around about here, again to just wouldn't say third from the bottom, but nearly halfway from the bottom. So I think this is a nice yeah, definitely nice little scene. And I like that there are all these houses here with some sharp shadows running to the left. There's trees as well, all through the scene with these shadows running through. And some of the shadows are pretty sharp. Some of them are a bit softer. So I reckon I'm going to get in a little combination of both of these types of shadows. But let's have a little sketch of these houses here. Now, I think I'll start maybe with this larger one right in the center, okay? It's kind of a rooftop like this, right. And I just got to make sure I get that in accurately, there, that's the rooftop. And then at the base, you've got this sort of uh yeah, this bit there, and then you got the side of the building there. Of course, the building goes all the way to the back like that. That, so let's go ahead and get some of this stuff in. There, there is also this another kind of building to the right that sort of overlaps. If you see here, it runs down there, kind of, you can only see the bottom of the building roughly there. So that's going to be okay. There's also a top part of the building there that kind of runs towards the back as well. This part here sort of just a little slither. You can see how the buildings kind of overlap with each other. You really have to you really have to pay close attention to how they overlap. But there we have it. And we've got another sort of rooftop of that building out in the back sort of section. I've drawn them a little bit closer as well. And hopefully that's just going to make it easier to paint. And this looks like a church or something here. Let's just get that in and the side of the building here, there is also this snow covered rooftop. Of course, there is a kind of tower here as well. Just let me get that top of that church tower in or whatever. And the back end like this, that sort of side, they're running Oops where is it? Of running to the left of the building as well. Just extend that a bit more. There's also this building here to the the left hand side. Um, let's just get this in there. Now, it doesn't have to be, you know, the exact same size. Just make sure you've got a few of these sort of cluster of buildings hanging around each other. So those are the main buildings. Let me have a look. Actually there's one more. That's a small one in front here. I barely just just missed it out, but it's here. The rooftop runs just underneath this one, there, there, and then you've got this underp of the building here. These buildings are just situated on the sides of the road, as you can see there. And you know, there are some little windows and things inside, but I'm not gonna bother with that. Let's get this one in on the other side. It's around here. Let's put the roof in. Same sort of deal, like that. And let's go and put the bottom of the building in here, here, like that. Great. And, of course, you've got this shadow, these shadows running to the left. I think we'll get them in. You know, I'm tempted to draw them in pencil, but I reckon it's just going to be easier if we deal with them all at once afterwards in some watercolors, sort of sharper. And you can see these little poles that run down like that. And, of course, some indications of trees, which we can pop in there one tree here, actually, that's just kind of like some dead trees or not dead, but they're probably just, you know, hibernating. And then you've got trees up here. I'm merely just putting in roughly where they might be. You've got this really interesting tree line here as well. We'll be able to get this all in with the watercolors much more easily. But an indication of that would be good. Here on the side of the road, you notice there's also, you know, some snow. It's kind of piled up on the sides, I guess, you know, through the plows or whatever that have come through. That's going to cast some shadows as well, these mounds of snow. So I'm just trying to indicate a bit of that to remind myself to put in some of those shadows later on. Also some coming in from the right hand side, but I think that should be good for the drawing. 7. Day 3: Snowy Village Painting: Alright, let's go ahead and get started with the painting. And I think the first thing I'm going to actually do is put on some of these warmer colors that you see in the buildings. Like for this example, this church has a bit of this yellowish kind of value for the bottom parts. I'm going to put in a bit of yellow ochre, just like that. Also, be careful not to go too far into the white because we want to leave some of that for later just to indicate the snow. So just a nice little, you know, rough indication, I suppose. Uh, yeah, just some warmth in there. That's going to really help. You see it in some of these other buildings as well, like here, you know, you see it running through part of it here, here. All I'm doing is just mixing up some brownish colors and yellowish colors and dropping it in, okay? It doesn't have to be anything complicated at all, just something to indicate light. And I'm using a little round brush to make sure I can cut around everything else, as well. Okay, lightwh It's mostly just water with a little bit of paint in there. All right. And we can add in some more colors afterwards anyway, some darker values. But for the time being, I think this is going to be great. It's just going to be something for the time being. Okay. Yeah, this one here actually has some darker bits around. Let's just drop this in. Yeah, the right hand side, perhaps some yellowish value like this. Have a look at this building, probably some more darker, warmer, warm, dark sort of value here. Okay, for this little underside of the building. Good, good. Right. That looks like all the buildings pretty much covered. You know, I've got this one I've forgotten about. Let's just put some of that one in. In fact, there should be maybe a side of the building that I just draw in like this. So I think what I will start doing first is I'm going to add in a backing wash of a very light kind of wash of blue, and just a cooler color is going to be fine. It doesn't have to be over the entire thing, but I think parts of it, I just want to get rid of some of the white of the paper, okay? So I'm going to go over parts of it as long as there's some water in here, okay? You can see there's also some cooler areas in this scene like this. So this is just a bit of cerulean blue, mostly mostly just water. Okay? And then you've got the rooftops, which you just need to cut around. I don't have to be perfect with it, but I find that it does help to leave some of these rooftops really white, sort of pristine, white, almost. Okay. Good. I just need something here, something to get rid of the white of the paper because the snow isn't actually completely white, if you look at it. The rooftops do look pretty white, but the snow is a slightly blue tinge to it, so this bit of water is going to help with that. Okay. It's not perfect. I've got all of it, but that's fine. That's gonna be enough. Okay, now we've got this kind of bluish tinge running through, which is good. I'm going to leave this to dry a little bit. Let's have a look. What else could we do at this stage? I think what would be great is if we get in some of these buildings, not buildings, the trees. So I've got some green mixed up here on the palette. I'm gonna go and grab some of it. Uh, Green and brown kind of mixed together. Okay. Maybe more brown. Let's grab some more of this stuff. More brown. Greenish brown color. Oh, right, let's drop some of this in here. And the paint is already wet, so there's not that much you need to add in. I'm using a little flat brush. And funny enough, also, a bit of blue can help. 'Cause as you see in the corners, there are some little bits of blue in sections. It's kind of like a cool color in parts. Okay? So I'm going to drop this in. And look, I'm just using the brush to create these sort of pointy bits to indicate some trees. Now, we want to also make some of them a bit taller. Don't make all the trees the same, yeah, the same shape or the same value. Definitely, or even the same color. It's kind of like a greenish blue that you see running through the bottom. This is great because it actually helps to frame the scene. Okay. And these bits of white, these kind of little specks there are going to help to create this sense of snow maybe. Yep. I'm gonna actually just make this all into one. Uh, yep. Here on the right hand side, more blue, perhaps, bit of this ultramarine blue, again, creating these shapes of the trees. Okay. You can continue to add in color, as well, while the paint is still wet. You can reshape, add tiny little details, as you can see, yeah. I'm just using one brush, just a little flat brush, okay? Sometimes it helps just slant the paper downwards so that the uh, the paint doesn't run too far up now. Don't want that. Okay. Good. And up the top, I'm going to do the same thing just with a bit of greenish blue as well. So run that up. Here, here. Okay. Just run this through. I can also grab a small rigor brush, get some of this paint, as well, and get in some of these trees. Oops, more green. Little bit more green for some of these trees here, like that, as well. There's only some of them up here, and then there's one here as well, like a pretty dark one here. I'm just going to plunk in like that. Okay. Good, good, good. So kind of let this sit for a bit. Let this sit for a little bit, but we do need to put in some shadows. Some of the shadows I want to get in sharper and some of them I'm just going to leave in pretty much the same value. So Yeah, in the wet and wet. So we want some wet and wet shadows, and we want some sharper shadows, especially for these little houses there. So I'm going to let the top of it just continue to dry off a little bit. And I leave it laying flat here. And I can grab also now a little flat brush, same kind of flat brush. After the paints had some time to sort of soak into the paper, you can just sort of add in those wet and wet shadows, okay? So let's have a look wet and wet shadows. We can pop in some purple here as well. That would be good bit of purple. Yep. Wet and wet is magical. You can just imply so much details and interesting here. But you have to sometimes, while the paint is drying, re sort of adjust some spots. As you can see, you know, there might be some areas that just have a bit more detail and you want to put that in That, this is all gonna blend, so you don't have to worry. All right. Okay, so this top bit should be starting to dry off now. I'm going to mix up some cerulean blue with some ultramarine blue to get in a kind of darker blue value for these shadows. If you look at them, they're pretty kind of bluish. Let's bring this across. So that's going to connect on, as you can see, this bluish shadow is going to connect on with these little trees and things. I always like to dry the brush off. I'll pick off that bit of blue paint and then I'll dry the brush off, okay, so that it doesn't, like, just go through and completely obliterate everything and create a mess. I thought look here. You know, you got some of these shadows running in from the outside of the scene and notice how the paint is spreading, but it's also not overly, you know, it's not overly spreading through the entire scene. So let's just, you know, pop this through like that. And that's what happens when you paint wet on too wet, you need to wait a little bit to just give the paper time to soak the soak in all that water. Okay. It's a bit too dark, but that's okay. Yep, all the same thing, these shadows that you can see just running over to the left hand side. It's all just one big shape. You know, you've got stuff coming out at the top, as well. This part up the top is kind of dried off, but I can just feather it in a bit so that it looks more consistent. Um, good. Okay. There you go. And then you've got this road. And, of course, you know, on the road, like I was mentioning before, you have these little bits of snow that are piled up on the sides and they're creating a bit of a can you see that? Just a little bit of this shadow running towards that same area in the back? So I'm just trying to indicate that like this. You know, you got some sharper bits, but, you know, for the most part, I'm just trying to get in the softer sort of shadows. You can't get in any of the sharper shadows anyway because it's, yeah, it's too early for that everything is still wet. There we go. We can get in some darker blue sort of shadows and parts like you can see here just near the road. Yeah, this is great to just pop in while we can. This is still getting there. I got to continue to just monitor that a bit. Um, Great. Back to the rigor brush, I'm going to pick up some real dark paint. This is a bit of purple and a bit of brown that I'm going to mix together to create a very dark value. And from here, we can do things like drop in some maybe some verticals, take a look. Oops, more blue, bit more blue in there. Yep, some funny little verticals like this. Okay. There's also this tree here that's, like, also got some leaves. Yep, a bit of shadow running to the left here. Uh, to a look. Yeah, there is, like, a little tree here as well. I barely didn't see that, but there's something there. Okay. I'm just trying to put in some little details for, like, trees and things running through here. Some verticals like that. There's just not much sharpness in here, so a little bit of this is going to make a big difference. Even for some of these trees you see here in the front, there's actually some, like, verticals just running through this area. So you need to have balance of balance between all this softness and having some sharper values and sharper shapes going through this scene. This is the telephone, these little poles that are running down. And I'm just trying to quickly indicate them. There's not obviously the paper hasn't completely dried yet, but you can still put in a bit of something here. That's another one there. You can even, like, indicate, you know, these little bits of line power line like that. But let's have a look. You know, it's so subtle. You don't have to draw the whole thing in sort of connect them up a bit. Okay? Just let it makes sense. You know, you know, there could actually be a power. No, it's actually I was thinking of maybe putting one here you could do here or something. Um yeah, it's no big deal. A lot of this is just indication of stuff. I was the main road somewhere here, isn't it? Let's just try to indicate that main road a bit better. Alright. Good. Now, before I put in the shadows for the for the houses, I'm going to just work on the shadows on the actual bottom part of the building. So for that, we're going to need some round brushes. Got a bunch of different round brushes here. But I've got a medium sized one. I'm gonna pick up just some leftover paint, brownish, bluish paint, whatever it might be. And I'm going to go into the bottom part of this building here. And you can also just leave some of that S, you can just leave some of that previous wash on there as well. You don't have to color all of it in. The building is not, you know, completely the same color as well. So you can just leave in parts of it, you know, that might be of interest. Um, indicate indicate little things like windows and stuff here as well. Let's have a look at this one. There again. Yep. Take a look. This one behind. Sort of got some darkness there as well. Just gonna just get that all in. Why not? The church Oh, this is tricky on. Kind not really that dark. I'm gonna just make sure I'm gonna put in a light wash of gray or something here. There you go. A bit maybe a bit of tinge of blue or something in there as well. Um, there we go. That's not bad. Just need that to be a bit darker at the base. Okay. Good, good, good. Are you this area here, the roof, the tower on top. I just wanted to indicate that little bit of Detail up the top there. Let's have a look. What else do we have on these buildings? Not all that much, really. Not that much. I think we can go in and get in the little shadows around the buildings now. And I'm just gonna be using this same round brush. But the shadow color is going to be more bluish. I've got some ultramarine blue here, and it's just mixed in with a few other kind of purples here on the palette I want it to be a fairly dark bluish value. Uh, yep. Good. So let's go in. Yeah. That is sort of like a sharper shape like this. Here we have it. Sort of connects onto the building, as well. There we go. Good. That's the sharpness of it. There's also all these little can you see just these little bits of snow that are creating also some sharp bits of detail, so you can go ahead and get some of this stuff in now, as well, just with the same value so that it all, hopefully, kind of blends together a bit, okay? So we got a bit and this rough paper is fantastic. It just makes it so much easier to do it. You can see the texture of the paper show through, which makes it a lot easier. And you can see on the other side here, there's, there's actually another house here. I didn't get that one in. It doesn't matter. We can sort of try to pencil it in here. Yeah, there is some type of house here, actually. So I might just try to indicate this anyway. Yep. Just behind there could be like behind same blue value just running through here. Okay. Anything anything to indicate these shadows or getting the impression of some shadows would be fantastic. Okay, so let's look at these ones. They've got some shadows also running in the same direction. I mean, these are all kind of formed by that same. You know, you can see it sort of coming from this building, as well. It goes onto the road, actually, it's pretty large kind of shadow. Um, that connected onto the building. So important to do that. And remember to leave some of the white of the paper, as well. Okay, this is a little bit tricky because it's still kind of wet this area, but I'm gonna put in this shadow anyway. Let's make it maybe a bit more exaggerated coming out here. But maybe a bit here, this building behind like that. Good. Okay, so we've got these sort of sharper kind of shadows running through. And then, of course, we've got some really soft shadows. And I want to compliment these soft shadows with some sharper ones here as well. Check this out. Just that same value that I picked up before, put in some of these sharper sort of shadows running through the back. Okay? These need to be a bit darker, connecting these trees on and see how I'm just dragging that brush through through so that it's nice and get these nice sort of sharp and sort of marks on the page. And it also, as you can see, picks up the nice texture of the paper, okay? Let's try to get this bit of the road, a bit more of this indication of the stuff on the road, as well. The tree, you know, that little shadow. I just wanted to redo that a bit. Um. Some of these poles, you know, they do have a bit of a shadow. Why not just put in indicate some of that, as well. It's not a huge deal, but, um, you know, why not? Where I can Okay. It's important to put these shadows in quite quickly. Um, yeah. There's also you can see here at the bottom, there's this little trail that's running through. You can see almost someone walking through here as well. You can put in little indications like that. It's not a huge deal, but, you know, these sort of squiggly lines of it could be snow, you know, some snowmobiles or whatever running through here. Uh, yeah, there's even here, you can see there's, like, some tracks that are running up here. Um, Something here as well. I don't know what that is. Like another some ridges. Okay. Good. Um, just checking this stuff down the base. That looks right. For the buildings now, I want to just create some proper, you know, it's actually on the left side of the roof. It's actually a bit darker, can you see, just a bit of cooler color on the left side of the rooftops, because the light source is coming from the right, so you're going to get a lot of this sort of stuff on the rooftops, on the left side of the rooftops anyway. So I'm just trying to indicate a bit of that and getting it to blend with the, blend with everything else, as well, nicely. This part just needs to be sharpened up a bit. It all just depends how much time you want to spend on this to, you know, to bring out the details. You know? It's not 100% necessary. But the more time you spend on it, obviously, the more detail that you can get through. You're up the top. I want to just, I want to make another sharp mark there to end it a little bit. Here. Same join on these trees. Let's put on some little details of the trees, just some sharper, you know, marks running up up like this, okay? 'Cause now it kind of just looks like a bunch of leaves, but no, you know, what do you call it, trunk of the tree. So something like this would be good. Um, you know, some here at the base as well, maybe a few. I don't want these to be too numerous down here because it might kind of detract from the rest of the scene, but some of them here will be good, I think, just to balance out this area because it's a lot of softness running through the base. Okay. So now let's have a look. I want to get in some darker marks. Through the buildings, like maybe a bit of darkness underneath there. Just here, it's just tiny little areas that we want to use to bring out windows and stuff like that. You know, I can just kind of put in details on the building. That may or may not be there, but tear white, does it does work. It makes it look like there's details there. Uh yeah. But you want to leave a lot of that previous wash there as well. You don't want to get rid of all of it entirely, keep it fresh looking. Keep the previous washes in there and um this is just to indicate some extra little detail and contrast running through here, especially. That Take a look underneath this one as well, there. There's some darkness still. Uh amazing thing about watercolors is that once you start layering things, the detail just starts coming out. You know, you've got to be patient and give it time to show through. You got to stick right through to the end. In fact, otherwise, it sometimes just doesn't look like anything if you're not careful. So Yep. Let's overlook. This house here is pretty dark, actually, so I'm going to call that one in as well here. And the church, you know, you've got a couple of windows like that. Then you've got the domain there something there, and then underneath the rooftop, we can just indicate some of this. There's a window here on the side, and of course, this tower on top, just indicate that a bit more. There. You know, it just depends how long you want to spend doing this, almost at the point where I'm ready to call it. It looks decent enough. And maybe these little you see these little poles. I just thought why not just quickly re adjust some of them again. What else do we have? Yeah? Look, there's some little some shadows as well, still running to the left for some parts here. Okay, I just wanted to re emphasize the darkness for some of the shadows that are being cast. Good. And, um, yeah, I think I'm gonna call it. 8. Day 4: Snowy River Drawing: So this is a relatively complex scene, and we've got all these houses to the right. We've got the mountains in the background. Plus, we've got this tree coming in from the side, and, you know, I'm thinking, probably simplify this tree down a bit, but we've got to imply all this snow running through there as well. So let's start off firstly by putting in probably the most easiest part of the scene, and that's just roughly where the bottom of the mountains finish off. Now, you can see, like, there's some green trees behind here. I'd say maybe just less than a quarter a third of the way down, roughly about here. Now, is the area where we've got a bit of this kind of you can see here, a bit of this river running in, and it doesn't appear to be completely frozen just yet, so it's kind of this darker color like that. Then you've got, of course, on the river, you know, you've got all these little bits of snow and coming up the river bank here, you can see just these sort of bits of snow and you've got some of these branches and things coming up as well, okay? So don't to make too much of a big deal of this, but yeah, just having enough enough bits and pieces in here will be good. Now, I think what we can do is really just start with some of these buildings. I'm going to try to mark out roughly where they are. So that's a rooftop maybe there, here. Now, the reason I'm doing this is just to make sure there's enough room enough room in here for me to put in all the rest of the details, you know, like that. And then you've got this sort of larger house here. So I think that's gonna be alright. That's gonna give me enough room. So look, when you're drawing the houses, always just look at the general shape, okay? And here, you can see, it's kind of like a triangular shape there for the rooftop runs across to the back like this, and then the signs of the house come down like this. Alright. And then on the sort of Building here in front, you've got this same sort of structure. Again, it's kind of around the same height like this there. And then this comes down. Okay, comes down like that. And then you've got the sides like this. Look, it's not as long as it is in the reference, but that's fine. It's there's always going to be some little adjustments. Plus the sheet of paper that I'm using is not as wide as this reference photo. Okay, so there we go. This is another sort of house there, and I'm going to just bring this down like this. What do we have here? It's like a this kind of area running there underneath. So this is kind of like the side of the rooftop, like, right there. And you've got some windows, that kind of thing there behind here. It's going to be a lot darker. Little another little house here again. And, you know, it's just kind of these repeating sort of structures. Here there is another kind of rooftop of another structure here, and it just comes down like that. And then, of course, you've got this larger kind of roof to the right. And it comes down like this. Of course, you've kind of got to get this sort of area of this retaining wall. And you can see there's even little bricks showing through here. So I reckon I'll try to put some of these in afterwards, just a quick indication. Remember this is, this is a very, very loose painting, but we still want to make sure that we have enough details. This structure here is interesting. There's like a triangular structure, and then you've got a bit of a rooftop running here to the back like that, like that. Then underneath there is kind of what you might call it, nice little bits of wood structures running across. So again, I'm not fussed on all the little details, put in a bit here and there. There's something kind of another bit of snowy area just running here as well behind, covered in snow anyway. There's a little spot there. I mean, all the way through this, there's all kinds of yeah, we've basically got all these sort of trees and what have you. And it's so tempting for me to actually, like, draw them all in and try to put the snow on. I think we're going to just shortcut it in the end and use some guash, a bit of blue mixed in to get in sort of spots of snow on the trees itself. Otherwise, I'm just going to be spending way too much time doing all of this. But yeah, you've got a tree here. I'm just going to indicate roughly the location like here, maybe. There's another something coming in here from the side, perhaps. Okay, that's looking okay. Maybe I'll get another one like there. Okay, now, we've got this tree kind of running up. It's really kind of large tree. I'm just thinking, how do we want to simplify this down? I'm just really thinking to myself this is bit much. We can get that all in afterwards anyhow, with a bit of, um, yeah, we can paint it all in mostly with the watercolors. I don't want to really spend too much time on it. There's a kind of a sort of mountain back here, okay, with all these trees. And then it seems like it may kind of go over to the other side like that. I'm just guessing that you can't really see much. I mean, even in here, there's check this out. There's a building here. I almost just manage to see it through that clearing there, and then you've got, like this other building here. So again, don't feel like you have to had in all the buildings exactly as per the reference, try to change it around. And if some objects are masked and you can't see what's going on, you know, you can bring them back out again. Don't feel like you have to, you know, abide by the reference picture too much. So here are these mountains here in the background, and I'm going to just indicate the rough little peaks on the top areas of them, okay? Oh, this one looks a bit wonky. Okay. Just a little indication of where the mountains end and the sky sort of begins. This comes down in a more sort of downward sort of slope like that, and check this out. It just comes all the way down, ends about here, but then starts again going up, okay? And I also like to put in a little indication of, you know, some of the darker parts. Like here, there's another ridge that just runs all across like this. There's, this is all pretty much a similar sort of color, except you can see there are parts which are just sunlit. So, yeah, we want to imply some of that later. Um, through there. But so far, I think this is looking pretty good. Just seeing if there's anything else I could draw in there that might help, you know, the case situation here. I mean, there's windows, of course, like here on the houses, let's just line them up, make them the same height. Um, you know, there's windows on the sides of some of these, you know, some of these, as well. Okay. Alright, that's looking good. So let's go ahead and get started with the painting. 9. Day 4: Snowy River Painting: To get on some of these nice warm colors that you see on the buildings. And there's a bit of grayish color here, so I'm just going to pick that up. Put that onto this building. That's going to be kind of gray, as you can see, you know, maybe the side, I'll get in the side as well there. Apart from that, there's just a lot of these browny sort of yellowy, browny sort of colors, and I really want to make sure that we have a lot of these in because really our only chance to get in the warm warm colors in this scene. So there we go. Let me just make that a bit more. That's better like that. And at this stage, we don't worry about getting in, you know, any of the details or that kind of thing. All we want to do is just make sure we've got a bit of color, okay. And, you know, this area is actually, like, a bit dark. This sort of rooftop, but I'm going to make it gray, so it just blends in a little bit to this wash down here, and the front of this building is actually kind of white. Los almost looks almost white from that sort of section. I could leave that. Well, I put in a bit of gray down on the side of the building there. Uh, that looks a bit funny. Let me I'll just dull that down. Let's just dull that down. It looks a bit too white in there. Alright. So the next ones, I'm going to just pick up some kind of darker color. Now this is again, brown, like a bit of brown or gray. Drop that in here. There's also some of these kind of orangy, more kind of vibrant colors that I'll drop in a bit of this as well. Oops here, here, and then we've got this kind of yellowish building to the right. There, which I will just paint around. And, of course, you've got this, like, triangular shape there in front for that object. I don't even know what that is. Doesn't matter. And for the rest of it, you've just kind of got, like, more warm values. So, you know, in here, it's just kind of again, more of these warm sort of colors. It's just brown, essentially, I'm just dropping in bits of brown and what have you, here as well. Underneath, it's kind of like a yellowish, some yellowish values. This is yellow ochre, which is a really nice, kind of really nice kind of subdued yellow color, and it granulates as well. I think it's one of one of my favorite colors that I actually use in almost all my paintings. Anytime I want to just dull down a bit of yellow, I'll drop in a bit of that there. Let's have a look. Do I have anything else? Yeah, maybe behind here. I could just get in some more of that stuff that bit to the right. Here, good, good. Okay. Now maybe the whole goal of this just to get in these these warm colors, okay? Alright, so let's have a look at the snow. Parts of the snow are really, really light. I mean, you've got almost it's just white down here. But thinking to myself, maybe I could make it a little bit, like, slightly darker, just a little bit of blue running through it, just so that it gets rid of the white of the paper. Okay? But it does look really, really white. Just thinking what we can do here is probably just, um, I might get another shadow running up here, 'cause it just looks too stark and white over there, but I do really like I do really like the fact that, yeah, there's some nice blue values running through for the shadows of the trees. We really need to imply that. So let's have a look. What can we start with first? I reckon what we can do is start with the we're going to start with the mountains, okay? A bit of ultramarine blue and a bit of purple. I'm going to mainly just mix up this really hopefully subdued value. And there's some grays on the palette as well that I'm going to mix up. Okay, let's drop this in. Now, the right hand side of this mountain, you can see, it's kind of darker. So here I am just dropping in this color very, very sharply like this. Okay. Coming down like that. Here, just bring that across underneath. And importantly, most importantly, we are kind of leaving out a lot of white as well. Don't paint it all in without leaving out the white. So for example, here with the roofs of these buildings, see, I'm just kind of cutting around the rooftops. Really important to leave those kind of like a stark white value, like that. There could be another building back there here, bring that down. Okay, it's really light sort of wash of this color. It's just a cool value. So it's probably about ten, 20% paint, if anything. And over to the right hand side, I'll just dole down that blue a little bit, water it down a little bit, and then I'm going to paint this right side in. Join it on nicely. Okay, let's see how we can get this all in in this sort of one shape. So here you can see on the sides of this, you know, mountain, there are these little kind of spots you see that tiny little spots of darkness in there. So I'm just indicating some of this stuff, right? Just indicating little bits of that because not all of this mountain is going to be just white. So you got to make sure you're leaving in some shadows running through there. Can even make some of them up. It's normally the light source coming from the left, so you can play around with this color. Okay. Good. Take a look here. There's this kind of ridge. You can see this ridge of mountain ridge there, so I'm going to leave a bit of white and then get the rest of it in like that. Keep it really light, as you can see, super light. Okay. Then you're running off to the left hand side, and to who knows what is happening over there. That should be quite enough, though. Now, down the base, you can see there's a little area actually that has like some green values, which I really want to put in. So I'm going to pick up just a bit of green. I don't know what it is. It's just a dark green. If you go any kind of dark green, use that drop that in this area. It's a little bit darker, but still transparent. And I'm going to use this to sort of cut around, as you see here, these little houses. And it's so important to have a brush like this mop brush that allows you to just cut around shapes. Okay? Got a nice pointed you know, here, especially for the tips of the buildings, the rooftops of the buildings, you know, you only get one chance to pretty much do this. Okay, so that's some of them. Do we want to move this to the right? Maybe, maybe, maybe, maybe. You can put in some darker bits as well, wet and wet while I'm here. Yep, drop in a few sort of darker splotches of paint. Yep, I want to make this much more visible. Okay, good. Good. Right, oh, so those mountains on back are looking, you know, pretty decent, I would say. Now moving down here, I'm going to just I'm going to just add in a bit of this same blue that we'd mixed up before, this cooler color. And over the trees, I'm going to leave a bit of this white in areas. And the point of doing this is just to make sure I maybe have some white highlights contrast for the trees that I put in afterwards, 'cause I'm going to go over the top of everything and really indicate some of this white. But, I should be able to do it faster and with some difference rather than just go through with the guash and do it. Oh, a little bit of that might be good. I've forgotten to put in a bit of warmer color for this house here. Let's just do that. It's just a bit of warm value. Maybe here as well, okay? What's this, it's just a burnt sienna. Got a bit of burnt sienna. Yeah. Good. And let's go ahead and start painting in. Um, the the blue, the snow. So I've got ultramarine blue here. It's really, really sort of blue value. But actually down the base here, it's just kind of, again, like this may get a bit more purply. Yep, that's better. But, yeah, it's the shadows. The shadows are kind of just this blue blue sort of shadow that runs all the way to this edge there, so you can see ultramarine blue to get that really nice. Um, cool value. Okay, that. Of course, the water is actually darker. So we're gonna have to do that. We're gonna have to add that in as well. So some more blue, but I'm going to also add in other types of purples and things just to make it subdue it a little bit. It's not too vibrant. Let's have a look here. Okay, that's looking right. So let's start off at the back here where the river kind of begins like maybe back here. Bring that through. It's kind of like a purple mix with brown mainly. Yeah. Okay. Now we know this all goes all the way through, and then you've got kind of like this bank like that. Um, here, good. Good. And then you've got some of these, like, bits of snow, these rocks here. And I'm going to leave, like the left hand side of them to just look a bit more kind of illuminated, I guess. So we look here. Good. Kind of goes just around maybe there, if anything. Okay, good, good. Now, this blue value really has to stretch over more to the right hand side. I'm just going to blend this along to this river and then we'll carry some of it up like this, coming up through the through this area, like that. There. Leaving a bit of white and things as well here. Yeah. There we go. Just some of this shadow, I guess, extending over from the left hand side, and I'm going to do it here as well. Just a little bit of this cooler value running to the right. Okay. Good. I think this is important. This is really going to make the snow pop out, look more realistic. Okay? And now what we can start doing is putting in a bit of this cooler value into the rooftops of some of these buildings, okay? So here on that side, you know, we've got a bit of kind of bluish value here. Let's just paint that in like that. Here, it's kind of like it's mixed parts, but that should be sufficient like that. Yeah, you're kind of leaving parts of it, as well. So you're not coloring the entire rooftop in, but just some parts you can leave kind of dry brushed off as well that as long as you've got some a little bit of light still left on these roofs, okay? I can probably just get away with leaving this one looking a bit more bright. Okay? There we go a bit of darkness on the right hand side of this object, whatever it is, you're kind of just picking out some cooler values on the rooftops. It's all you're doing. That's all you're doing. Just picking out some of these cooler sort of values. Even here, maybe, you know, I just noticed I could put a bit here, here, this building in the background, I might just put in a bit there for the roof like that. Okay? Just a bit of little bit of that. Okay, good. Let's have a look here down below all the snow. That's looking right, actually. That's looking right. I do think maybe a bit, like, running across, like there as well. Just some other shadows on that other side so that yeah, so that it sort of looks like it's constant all across, okay? Good. And important to leave all this white. You got to leave all this white in there as well. Super important. There's not enough blue in this water. I just want to drop something here. Why not? Yeah, it just looks a bit weak. But of course, I do think I'm having some darker values in there afterwards I'll get in with the final wash. It's going to actually turn out much better. Let's see. What else can we do now? What else do we want to paint? I think we're going to start off doing the final kind of dark wash. So let's give that a go. 10. Day 4: Snowy River Finishing: So for the sky, I am going to pick up a bit of cerulean blue here, and keep in mind, the sky is actually a little bit lighter than the rest of the mountains. So I'm just going to pick up a really light wash of this blue and bring that across, okay? Like that's just from the top of the scene. I'm going to move this down, okay? Move this down. And this is the important bit where you kind of cut around, see here, just sort of cut around the white parts of this mountain like this, leaving some little tips, white tips in that running through here. And just like this. I want to be quick with this, as well. Yep. Okay, good, good, good. So we got that mountain there in the background. Then we'll do the right hand side now, bring around the same wash downwards like that. Okay, I want these mountains to be, you know, I want them to look like they're there, but I want them also to be a bit of an afterthought. Not too much focus on them. Okay, so there we go. That's it. Just a quick little wash. So almost no painting there. Okay. So that will kind of dry off. And let's uh let's have a look. What do we want to do? Let's work on the houses first. Once the houses dry off, we can put in the we can start putting in the actual trees afterwards. So now, it's a bit medium sized round brush. And let's get this working. So we've got some brown. Let's get some brown, some different colors, a bit of blue, bit of brown, a bit of purple. And I like to have all these sort of mixed together slightly. Um, just so that I can create the general darker sort of value. And I was looking at the reference and thinking, What do we want to imply in here, as well? So I do want to make sure that the light is much more obvious. Okay. Let's have a look completely dried yet, actually. I'll give it a quick dry. Okay, let's go. So that was like this sort of little section there. I don't want it to be darker. Let's pick up a bit more a bit of gray mix up some of this stuff like that, and mix that in, make sure that's a little darker. The rooftop here should be a little darker, as well. Might actually darken almost the entire section there underneath for that little rooftop. Okay, of this. That can be maybe the side of the building or something there. Good. So blue, a little bit of ultramarine as well in there. It's always important to make your grays mixed up of different colors. It makes them look a lot more interesting. Okay, let's have a look at this section. There's maybe a bit here some detail here. You can make this up, by the way. You don't have to have all this in exactly. The right hand side of this building is, like, a little bit darker, like here. There, it's just dark in that section. Okay. Here, that section's going to be darker there as well. The rooftop here has, like, a really dark value in this section, like that. There. A couple of windows that you get sort of these really darker looking buildings running through. Let's put in a bit of shadow there. Um, let's have a look. What do we have here? Maybe a bit of again, the side of that building. And this building as well, maybe just a bit of darkness here. Okay, good. That needs to be a bit darker, as well, just to bring out the side of that building that Okay. Now, this building here up the top is kind of there's a bit of darkness up the top here, so I'm going to pick up some more purples and browns. Let's just mix some brown and purple in together. And I'm going to get this whole dark area underneath this part of the building in. And of course, you got some of these kind of little windows here as well. Quickly paint them in. But yeah, the top section is actually pretty dark. You've got this kind of juicy color running across. Let's put some blue in there as well. Like that. Um, Yeah, it's not exactly There are some darks in here as well. You can just see just little just darken this down. We'll have to get those windows in once more afterwards. That looks better. It looks a little bit better. Now, running across to this structure here, I don't even know what it is, but let's just paint in this little part here underneath the roof of it. And pretty much around it, there's all these darker spots of, you know, really dark sort of value. So I'm going to just go in and do a bit of cutting around. You can see where I painted in the drawn in, I guess, some of these wooden areas. So you can spend more time on this if you'd like, but otherwise, just kind of do what I'm doing here, just kind of cutting around some of the indications of the wooden structures. That's going to be right. Okay. Okay, good. Just needs to look like there's a bit of darkness there. That's all. The sun catching the light off the light just catching off this area parts of it anyway. Okay. Looking good, looking good. Um, let's see. What else do we have in here. So those houses are kind of looking quite okay. We're almost at the part where we can start putting in the trees and that kind of thing. But I don't want to get too carried away just yet. Do notice you know, through some parts that there's even some kind of darker areas underneath just running through these parts of the buildings, here, here, you know, just trying I'm trying to just disrupt some of this stuff happening. There Okay, good. I'll put in some white afterwards to bring back some of those details. But let's go ahead and I'm going to pick up a large rigor brush. And with this, I'm going to just pick up purple, a lot of purple and a lot of brown, mix this together to get a really really sort of dark kind of value. And I'm going to put in, like, indications of, like, trees. So this is one here, run up like that. Okay? Just quick little indication of this. I hadn't even drawn this in with the watercolors, okay? The sky has not actually completely dried off, but that doesn't matter. Okay? There's also something else here, another tree coming in from the right hand side of the scene like that. Another tree coming up here, maybe disrupting this house, going into those mountains in the background there, check this out, kind of move this brush around and create a bit of interesting sort of details. Here, you've got some shrubs, looks like running through this snow. I'm going to put a few brush marks there. You know, there's a few just running over here as well. You know, just really dark little dark sort of marks that are running down the bed of the river. And here's a chance as well to just start to bring out areas of the river. So I'm going around here and I'm just kind of outlining with the rigor brush. Some of these rocks, you can see around the snow, especially around these white bits of snow, you can see that there's these darker sections. So this is important for you to just indicate maybe these are some rocks or whatever on the riverbank, and it kind of helps to mark out the river bank as well. I might put in a few little shrubs there as well, running through this area. Good. Okay. Even with the bottom of these trees, hit the ground, there's a bit of something there as well. Okay, good, good. Now, the left side of the bank, there's going to be some little also darkness, bits of dark there as well. So I'm just outlining that. Okay. Just kind of bled too far up. I'm going to wipe that off a touch. So tempted to just make this go all the way out. Should we? Okay. Why not? Let's just make it go all the way up out of the scene. Didn't intend for that, but okay, we've got this tree here to the left. A couple of trees anyway, so let's put them in. Again, with the rigor, it's just some darker marks. And also, you can use a smaller round brush or this. Little round brush, some purple and a bit of brown mixed together. That creates a very nice dark value. All I want to do is just cover this left hand side of the scene with some of these marks, joining over to the right hand side a bit. There you go. There's so much going on in here, you're almost, you know, scumbling the brush pretty much through this whole area. Okay, continuing on, I still want to make sure that there are some darker marks and bits and pieces running through the left through this kind of mess of trees over here. Okay? But that should be okay. Just more kind of verticals would be good running through in some parts, but some little fine fine brush strokes as well running across, hopefully helping to connect to the scene as well. I mean, it's just crucial, I think, anyway. One thing that I like doing as well is I like to pick up some darker greens or whatever paint here and just dropping drop some of this in into the background where we might have some trees. We've got all kinds of you know, bits and pieces back there, but essentially because you've got so little sharper kind of marks, I think this is really going to help. Plus, hopefully, it might even help me to bring out the rooftops of some of these let's see here, some of these little houses. So notice me, I'm just going over again and really making the bottom of this area darker. That. Intentional scratch off a bit here and there. But as you can see, it's really it's really starting to make those houses pop out a bit more very important to do that. I think anyway to create a little extra element of contrast, but not too much, so I'm going to just lift off touch like that. Okay. But I want them to just pop out a little bit more. So more little bits of scumbling around will be good as well, just like around here for these trees and, uh it might have some longer bits of branches and stuff running through as well. Yeah. I don't want to overdo it, though. I just have to be very careful because I can get a bit trigger happy at times. Good. Yeah. The main thing is just these darks really need to be quite dark and it's a difficult thing to do because you're really just trying to mix up as much paint as possible for this. There's maybe another one here. I just miss this one. There's something there as well. Because these bits of darkness here are going to form the basis of the snow once we get some of the snow on, and it's just going to look much more interesting if we have more darks running through. Let's take a look underneath these, I'm going to start just picking out some little details now, for example, this window here, another window here, there. For instance, maybe a little round brush is going to be better. What is actually. Yeah. Okay, good. M Okay, fantastic. Let's see what else do we have? Yeah, just kind of really thinking about how I can bring out some extra extra darkness, extra bits of contrast here, I could deal with a bit there, have a look. Maybe some windows or something now the sides of the buildings like this have been underneath the rooftops as well, like there. Okay, that's this house. There's something there here. Kind of just picking out, looking at the reference and finding maybe there's some little bits of darkness here or there on the roofs in the rooftops, that kind of thing, bringing out some structure. There is even a window, it looks like a little window here. You barely tell. You almost barely tell what is going on in areas, but you can see that there are some dark areas and it's like almost a fence or something. It does look like a fence actually running around here. So I can just imply imply that and then bring some snow into it afterwards. Okay, these bricks we had applied before just quickly in a few little scribbling details here. Okay, good. Okay. Good. Little windows or something here in that house in the distance and just a little more outline for the rooftops. I mean, I can even just put in some windows, some details for that house. It's not there, but I just want to do it. Okay. Stick. Let's give this a little dry. Okay, final step, we're going to bring back some of the highlights with this white guash that I have here. And, of course, here I think there's just a bit we can bring back there, any kind of white sort of area. Now it's not going to be completely white, I think, with this squash, I've got it mixed in with a few other bits of paint as well. But you can bring bits of it back. And most importantly, I really want to get this sort of indication of snow on parts of these bricks and things. I'm going to put that in. I'm going to just try to imitate the reference. You can see here there are some bits of snow like qualities there sort of So that, you know, a little bit of water as well through that mix here. You know, another cool thing is like this, the trees. You know, you can see the trees actually have a bit of snow on them as well, but there's a little darker. I'm gonna mix some gray into it, maybe some little bit of blue. A little bit of blue into this squash so that I've got some little indications of some snow on the trees. Let me just bring that up like this. Yeah. You can see it helps to outline the branches. Of course, I don't want to overdo it as well. This is just a few little bits and pieces up here, sporadic. Pretty sporadic sort of looking as well, you know, here you've got some maybe on this other tree behind a bit of snow there running down the tree into the ground, too, you know, we can actually bring back some little bits of snow. And you know, you also get on top of the fence that I was talking about before. Not only that, but there are these little structures here. I don't even see exactly what they are, but they look to be like parts of them to be parts of the house in the background. So I'm just going to, you know, put that in. That looks like it was another structure, like in front of it. No big deal, something like that. And let's continue on. That's probably a bit too much to erase, maybe just errase part of that. Too many too much of a sharp edge, too much of a sharp edge there to apply. Maybe a little bit like that there running in there would be better. These shrubs, of course, the snow here in the little bits of highlight highlighted bits of snow in here. Look, this tree. Oh, here we go. This is going to be a bit much. But using the same color, I'm going to go through and just put in a few little bits and pieces. Okay. Good. I almost just bringing back a little bit of snow a sense of light, I suppose, in areas as well. In. 11. Day 5: Snowy Mountain: Is a nice and simple composition that I want to try out. I think this would just make easy scene for a beginner. And let's first go ahead and put in, you know, the most basic part of the scene, which is basically a house here at the bottom. I'm going to leave a bit of space at the bottom of the past I probably about 5 centimeters or so. And I'm going to start putting in this shack. And all it is is you've got this triangular sort of part here for the roof. Comes down like this. Actually, part of it is obscured by the tree, the tree to the right, but can actually still get in this sort of section there, like that. It's a funny little view. It's almost like coming from, coming from, like, beneath, looking upwards. It's interesting looking view. Yep. Let's have a look here, that bit of snow on the rooftop. There. Yeah, very quiet. Difficult to see exactly where the roof actually starts, but I want to leave a bit of white just on the roof here. So, yeah, it's going to look a bit more. It's gonna look a little bit better. Maybe this will just be the tree. So here, coming in on the right side, tree here. Okay, you've got more here. A lot of this stuff you're gonna just be able to get in with the watercolors, so it's not a big deal at all. There's some trees here. You can see I do like how they kind of go up this sort of mountain, the sides of the mountain. But some of them just keep going a little bit further up, okay? And I think that should be good. I don't think there's really anything else that you need to draw in. This is a pretty basic little scene. So let's go ahead and get started. So what I want to do first is this whole area, actually, I want to just add a little bit of blue, okay? Just a tiny bit of blue to get rid of the, yeah, basically, the white of the paper. So just to kind of get in this sort of snowy sort of look, yeah. But anyway, it's just a bit of color there. And cutting around this house, as well. If you just want to really cut around the rooftop and maybe the base of it, as well. Okay? It look cool. That's too much. That's too much. It doesn't matter. You can shift this around. It's actually very difficult to see what I'm cutting around, to be honest, without enough color in here, so tiny little bit of color would be good, okay? There we have it, you know, kind of like a bluish tinge, which is, you know, you've got areas which you have this sort of bluish tinge anyway. A bit of gray maybe up the top here as well, a bit more blue. Just want to feather this to make it get rid of that white of the paper. Good. And into the house, I'm going to drop some color. Okay? And it's basically just going to be some brownish value. So I've got some of this burnt sienna. Great color for this. Now, dropping it in like that, and all the way up to the rooftop where you've got the white. So there we have it just a nice little edge like that, and then we're going to bring this all down. Some of this is going to seep into the to the other sides, I'm not gonna worry too much. If it seeps a little bit into the ground where the snow is, I'm not too fussed. Okay? Okay, there we go. Just a little bit of brown. That's it. I'm going to be able to get more details on afterwards, anyway. And let's have a look down at the base here. Now, we want to wait just a little bit of time for this water to dry, okay? But kind of hot day today in Melbourne, so I can actually go ahead and pick up straight away some different paints. So over here, got a bit of green, a bit of undersea green. Alright. I've got a few other colors here on the sides as well, can actually remember what color this is? I think this is. It's also another type of green. Okay? Other type of sort of green value. And what we can do is just sort of drop this in. Check this out. Drop it in like that, and it will spread. I think a smaller brush will be better a little round brush. And look at that. It just sort of spreads around. And, you know, do you notice, maybe there's a little bit of orange. I'm gonna get a little bit of unacrodone burnt orange and drop a tiny bit of this in here as well, okay? And this is so much fun. I really like painting wet into wet, and you can get all these nice sort of values running through and nice soft details. Okay, does help to just leave it to dry for a bit, but you can see how that paint is just moving around, doing its thing, absolutely beautiful effect. Okay, put a bit of darker purple paint maybe somewhere on the left side of the trees to indicate the shadow or something. Okay. There we go. Let's see. Where else have we got another one there here. It's spreading quite a bit, isn't it? You got parts of, you know, the paint just spreading in areas, but I'm going to try to keep this as contained as I can. There's little parts, can you see little small trees just sort of running through the background, rocks and stuff like that. So you want to imply some of this stuff as well so that it's not all the same. Even up the top here, you've got some I don't know. There could be rocks or trees or something up in the back. Okay. Good. And I think these are sort of rocky sort of shapes running down the sides. I'm gonna pick up some brown bit of this it's basically raw umber. I'm gonna drop in here for some of these, like, rocky shapes that you can see, just running down the side of this mountainous area. You got some of it here. Maybe you can see it's sort of these rocky outcrops, I suppose, that the snow hasn't completely covered. You've even got some maybe at the top here. No, just exaggerate a little bit up there. Okay, I really think I'm gonna have to exaggerate some of these shadows as well. Might think of putting one in another tree, maybe another tree here as well. Some other larger ones up the top to hopefully, again, cast make it look like it's casting a shadow. Okay. I was just checking how it looks if it's balanced or not. It's looking okay. As kind of brown and putting a bit of brown and maybe a bit more green in there. Okay, good. And while the paint's wet, that's where you can just sort of drop in some more and reshape and that kind of thing. Just play around with this. This is a magical sort of really the magical part of watercolors that I absolutely love. You can't do this in any other medium. And this was to my, you know, dismay initially when painting watercolors, the ability to control this, the lack of ability to control this in the beginning was a big stress for me. But, you have to learn to just go with it and realize you're not going to actually be able to control this. To a certain extent, you can. But mostly mostly not. A bit of neutral tint and a bit of purple. I just want to drop in some darker value tree here. It's actually meant to be, like, a darker green, but I've added way too much neutral tint. That's right. That can just sort of go over the edges of this building like that. Sharpness there, and it just comes down like that, like a bit of sharpness. Then I might have another one here. Just moving through this section. Larger trees, of course, are going to be great for this section. And these trees are kind of getting a bit you see them, they're sort of becoming a bit browner in this section because they are looks like the leaves have started to fall off. Okay, so they're kind of these you can see the little twigs coming off, which will get in in a moment. I'm not completely finished yet. This is just really a way to start now start getting in some bits and pieces, some little details, okay? Okay, good. Good, good, good. Okay. Let's grab my rigor brush. Rigor brush. And I'm picking up really dark paint, just the dark paint that's leftover on the palette. As much of it as I can. Maybe some neutral tint just mixed in the corner as well. Let's have a look what we can do. So we want to put in maybe some little, you know, verticals running through in areas. Um, Like that. Okay. Sort of just shaping off some of these trees at the tops like that. Especially around this house. I think this is going to create a bit more contrast. There's even some behind here, there's a bit of darker valued house or something here, or tree, just drop around the white part of the rooftop. And because I haven't put any water into the rooftop, you see, it's not really made any sort of color run. I'm just again, sort of putting in some more verticals, especially in some areas where there may not be, you know, those verticals as well. I want to add a bit of complexity around here because we're sort of grasping at straws for some of this detailing work. I'm going to grab some blue, some ultramarine blue. We're sorely needing some really want some blue kind of values running in here, as well. We're just missing some of it. Okay. Good. So this is all starting to dry off and do its thing. But what I want to do is put in some little little shadow, some little soft shadows. So gonna grab some ultramarine blue, mix it in with some cerulean blue here. Good. And let's get in these shadows. Now we can see the shadows sort of running to the left, aren't they like that side? More ultramarine, actually, just a little more ultramarine. I'm trying to really emphasize these shadows, running to the left, okay? Changing the reference photo just a little bit, maybe make some of these quite long. Some of these shadows a little bit longer, but they're just kind of, uh Yep, maybe a bit here behind the house, as well, like this part. Some of these trees make cast a shadow as well through there, even across here. Why not? Let's just get a bit of that blue through there, as well. Okay, good. That's the great thing about this paper. Rough watercolor paper. You can just really get in these nice Oops. Nice bits of white running through there. That's what I was trying to say. That very abstract. You know, a smaller brush, and I'll quickly again, just start putting in maybe some of these trees. Maybe a little rigor brush will do a better job, okay? You know, you can see in some areas having some verticals running through here might work. Especially especially where we've got areas of quite strong contrasts, you really can produce more interesting looking scenes like this, rather than all be kind of kind of all wet into wet and blurry. This sort of just adds a little bit of detail on in areas that you want, there's even some sharper bits like this running up there, little shrubs and things. And this area hasn't completely dried yet, actually, so you can kind of go in, put in a few bits and pieces and details. You can even darken some of them as well. Good. And you can also pick up a little pocket knife and do things like scratch off paint. So, you know, like here maybe or here, where you might find some, some trees, I guess. Yeah. Again, just I just helps to break this area up, so it's not all going to be the same same same old, I guess. Makes it look a bit more interesting. Got to be careful with it, not to kind of overdo things as well. So yep. Maybe a little lift up here, you know? Down the base, I think, is going to make bigger difference. Okay, so final finishing touches. I'm going to exaggerate some of the shadows and, of course, also bring out this house from here. And I've got really browns, just some dark brown in here. Let's just put this let's just start round about here. It's gonna be darker underneath this little part of the shack comes up underneath here. That probably should have left a better. Yeah, I can just do that maybe. Should have left a bit more of that, um wood lighter wood color. Okay, cut, maybe some of these windows. This some more like that. Yeah, I sort of just sits on the on the snow. Um, I just sits here in the snow, and then you've got a bit of shadow running to the left of it. And maybe just dark. There's a touch more here underneath the roof part of the roof anyway. And then we've got some sharper kind of shadows. So I want to put in ultramarine blue, really just a bit of ultramarine blue here. It's diluted down as well. I might work on these ones first. Just some of these trees you can see here, they're maybe casting a shadow to the left there, you know, just some sharper sort of shadows running through the snow. Um, like that. 'Cause you've already got a lot of those softer shadows running in, but this is gonna kind of help to balance it out. That kind of to the left. There. Mm. More blue underneath the house, kind of like the shadows being cast by the trees as well. I want to leave a bit of white, too, so it's not all just, you know, blue running down here, a little bit of that snow feel. 12. Day 6: Helsinki Drawing: Let's get onto the drawing. And the first thing that I want to do is put in roughly the kind of water line, and there's not much water there. There's just a little bit, but I'm raising it a bit further than in the reference photo just so that I can get some reflections later on. I'm also thinking about maybe putting in a couple of boats here as well. I'm just quick indication. The reason why is I want to balance this house on the right hand side with all that white paint on the outside of it. So let's firstly, let's find that sort of middle area here. So there's like this rock here, rocky sort of area on the coast like that. Gonna leave out that little pole behind. Oh, fantastic. And there's all these rocks and things here. It's not much at all, but that just needs to be a different color. Okay? Then it turns to this sort of nice greenish value. You can see behind there. Okay, getting on these rocks, these sort of outcrops of rocks and stuff here first. Okay. Now, this is the area that we really need to kind of pay attention to. And we've got this house here. I'm going to put the front of it in first. It's like this white rooftop and also not the rooftop, but the front facing part of it, like this. Okay? That's it. Just a little detail, just like that, essentially. Okay. Fantastic. Behind, there is also some more details, but I just want to get this little bit in first. This right hand side here, you've got like this tower like shape. I don't know what it is, but it kind of goes up like this and goes upwards there. It's just some sort of structure just pointing upwards essentially. Let's draw in this top part here and I'm going to try to simplify this down to maybe this rectangular shape that comes out at at the base like this, and then we have this dome shape on the top. There we have it, something like that. Good. And let's have a look. What else do we have? There's probably a bit more detail in here. This left side, there is as you can see, that sort other structural components as well in there. The bottom just sort of flares out a fair bit. It's decent for the top of this little dome. What have you? Good. Now, the side of the building, you've got this kind of bit that juts out like this, comes across like that. There's another part here, atriangular sort of part as well. I just want to emphasize that the side of it a bit more. Don't really see that in the reference, but I want to yeah make it a bit more Obvious. Now, underneath here, this is when things get a little bit tricky. There's like windows, and then there's sort of sort of white areas. So I'm going to bring that down. But remember, we've got this tree just running through here, okay? And here on the left side of the building, I'm just going to put in some little details like this. This whole area kind of just needs to be in the dark. And it's very kind of bluish back there, which I like offsets the warmth. There's another kind of dome like shape back there. Look at that. You can barely see exactly what's going on, but you can generally tell that there is the side of the building running back there. Okay. Let's get some details of the building. So the top section, there's these sort of bits there. There's looks like a balcony of some sort there. Then there's some more little windows on the side, which we'll have to get in with a bit more detail afterwards, but this is going to be good enough. For now, there are some of these, like, balustrades here you can see just going up. Looks like they kind of lead up to the right hand side. You can't see exactly where they go, because there's all these trees blocking the way, and there's these rocky outcrops there as well. A bit of white detail here for, like, another staircase running up to the building. Okay, fantastic. The rest of this is just, yeah, it's sort of tree shapes, like there. You got a larger one here, maybe that just comes up, goes down, and then you've got, like, parts of the trunk of the tree, as well, which we're going to leave white. Some more tree shapes there just to kind of indicate. Now, this left hand side is a little bit easier. You're just going to put in the general shape of these trees like this, and of course, you've got some verticals as well. That some verticals, some close to the ground like there. But they're kind of growing up from the grassy coniva. So yeah, this is going to be good. Yeah, I just wanted to draw in a little bit of it, make life easier afterwards. Okay, and of course, in front, there's just trees all over the place. There's like a tree heaven going in front of the building. It's going to be a real important part of the scene, of course, these boats, as well that I thought to indicate here and here, you know, perhaps maybe I could get a purse. There's thinking when I get a purse, there's a couple of people just standing by the water like that, maybe just having a conversation, another boat there, for example. Yep, I just want to create a bit of contrast, little bit of contrast. I think I'll let's just think how we're going to do this. A might be a bit too much. I'm just thinking maybe just three. Maybe just three boats should be fine like that. We'll leave them white, as well. Uh, yep, fantastic. Okay, we are ready to get started with the painting now. 13. Day 6: Helsinki Painting: A bit of color for these buildings, I want to firstly get in some of the roof color, which is going to just be burnt sienna, okay? Just a bit of burnt sienna. I want it to be, like, a really warm color, warm, sort of brownish color. So this top part there, I mean, pretty much everything behind like that, going to be able to just get in with a quick little wash, rooftops anyway. And really trying to keep that area of white exposed too. And this has to be really quite light. So you're mixing in maybe 10% paint. The rest of it is just water. Alright. The dome, as well, you got to take a little bit of care to cut around. But if you've got a little round brush like this, you're gonna be fine or a little mop brush. Okay, so go up. There we go. That's probably the hardest bit of the painting, to be honest, getting in this sort of dome like structure. It doesn't have to be perfect, but certainly I think it helps to maintain a bit of accuracy there. Here on the rooftop again on the right, I'm just going to go all the way to the edges like this. Okay, fantastic. And, of course, we've got this one here as well in the background. And, you know, part of the work is also cutting around these later with the blue paint for the sky. So we're not quite done yet, but this is the kind of light that we're painting in. We need to be careful with it. Okay, great. So those are the kind of warmer bits that we needed to put in there. Let's have a look. What else do we need to do? I think that is looking pretty decent for the rooftop sort of areas. Now, really, for the next part, I just want to put on some kind of bluish paint maybe below here, mix it in with a bit of the brown. I just want to make sure there's some type of paint running like a cooler paint running down the sides of the building here. I'm going to go over it again with some other color, some bluish color. But for the time being, we can go through that. A lot of this other stuff we just need to leave white. So moving further down, I'm just picking up really, it's a leftover color that I have on the palette but if you've got some grayish paint, that's going to be fine. Just mix your three primaries together. You can get some kind of grayish color. And let's have a look Yep. Just for these rocks. Oop, that's too dark. Let me just re jig that. Yep. Just for the bottom of this house, there are some sort of dark spots underneath of the brickwork or what have you. Okay. And of course, leaving some of this out. Okay, good, good, good. Am I gonna carry this down? If I can just try to get all this in with one wash, that's the best. Possible outcome, really, you don't want to spend too much time fussing about, okay? Now, moving further down, I'm going to mix up some green, a bit more green. I've got a few different greens here on the palate, but just going to put in a very muted green, some yellow, perhaps. Let's just get some more of that. There we go. Yeah. I just want that to really and I'll use this also to maybe cut a bit around this side of the building, okay? But it's really, again, it's a soft wash. You don't want to go too dark here. Especially down the front where it becomes almost this outcrop, this rocky sort of outcrop. I just want to make that like a grayish color for now, like that. Cut around this little boat. Yeah. Bring it all the way to the edge for water. Do the same here. It's kind of like a grayish value that you can mix together with all your three primaries. I use neutral tint saves a bit of time. Oh, I went over that boat by accident. Okay, and moving my way upwards again, let's just start to put in these trees, and I can do this all wet into wet. Leaving a little bit of white for the trunks. But, you know, at the end of the day, a lot of this stuff was going to be implied with some guash, so it's not a big deal if we don't get this in correctly, 100% correctly. Let me just get in forgot to put this section here of this backing area, which actually is darker. Kind of like a bluish color. Just want to blend that in with the side of that building. Forgotten about that before. Okay. Good. The rest of it is just kind of greenish greenish colors running through, Kate? Okay. Good. Let's put in some of the sky. Cerulean blue. Sort of cerulean blue. And I just want to double check first, just want to dry off the top of this building so that I don't get any furry bits. Okay, let's go straight in. Cerulean blue. Why don't you start right at the top, cerulean blue, really light wash, probably be at 15% paint. And I'm going to bring this down the page cut around the buildings, which is very important. I'm gonna make maybe make the area around the buildings a little darker. S that's I don't want to overthink it as well, so just go in, get it sorted and continue on. But yeah, it's kind of just making sure you're implying some of that light. Okay, a bit of light. It's actually on this dome. Geez, it's a bit tricky, isn't it? Just cutting around sometimes. But if you've got a thin tip brush like I do, it makes easy work of it. Your brushes really need to have a point to Good. Just coloring through the back area here. And I'm not fuss now. I can just start mixing some of this skywah downwards. If it goes into the trees. No big deal, 'cause I'm still not done with the trees. I want to paint some contrast some darker contrasts in there. Okay, fantastic. I always like to carry around a spray bottle for this so you can just sort of spray into parts, areas that haven't completely dried yet. You re wet it, encourage colors to sort of mix together. I didn't get any on top of the building because I think that's just going to cause that color to mix around and look not so good. So let's grab our round brush, make a medium size round brush. I'm going to start putting in some darker values here, okay? So I got other greens, but darker sort of green values. Maybe some purple as well would be good. Do have some purple, a little bit of purple here. And we can do things like add in, you know, some darker areas of trees. The light source is coming from the right hand side. So some of this stuff you want to leave out, you want to make it look a bit lighter as well. But here, I just want to kind of put in a bit of darker areas on the edges of some of these trees. You know, down the base as well, you can just see some darkness, you know, here. Look, there's some darkness in here. Just kind of picking out a few bits and pieces. Of course, on the actual building itself, you can see there's actually quite a lot of some dark value here, which I want to pop in just to really emphasize the brightness of the light hitting the house, back to the green. Not all of it has to be painted in wet to wet as well. You can sort of leave some sharp bits as you see. Really important. Ar. Let's have a look what's going on here on the left side. There's some shadows actually running on the base around the base of some of these trees. In fact. Okay, but you've got some darker bits of green here running to the back areas. There there's get that sort of bit up the top here of the trees as well. You kind of making sure that you've got the full range of values, I suppose, not just, you know, 11 green value, and that's it. You want some lighter ones. You know, as you see here, there's even some purples in there as well, which are not a big deal. We just want to make sure you've got a lot of different things going on. And of course, there are, you know, near the rocks, there's some details there as well. I think I'll go through and get that in later. But for the time being, I want to actually start putting in some of this water. So back to the mop brush. I'm going to pick out some ultramarine blue. Drop that in here. Let's have a look. I'm just going weigh this up a bit, maybe a little bit of brown in there to just, uh subdue it down a bit. There's also some purple in there, a bit of brown, bit of blue. Okay. Like that. Still, I want it to be fairly blue. Cut around here, this boat. Okay, you're going to have some sort of sharper edges in places, other parts just leave it. Um, Good. Good. Yeah, you got this, uh, area underneath like that with a reflection. Um, we're gonna have to work on that a bit, though. I don't want to leave it completely that color. Me purple, purply sort of blue down the base to create a sort of a darker sense of contrast there. Um, good, good, good. I might just soften. I'm just really thinking to soften off that edge. It's too much. I need to soften this bit of water on the edges like that. It's Okay. Good. So then we have some kind of waves and stuff running across the surface of the water as well. It's going to look a bit better. And maybe some of this like brown that's above here. So, as you can see, this top part, the reflected water reflected area here, maybe from the top of the building. Okay, needs to have some of that in there. Otherwise, I think I'll leave the white. That looks pretty pretty interesting, actually. Okay. Let's put in. I'm gonna drop in a ton of this green that I have leftover, just so that it also reflects a bit of the trees and things. Uh, yeah, it's not just completely blue. Okay. The base, again, more blue and a bit of purple perhaps to really just draw out that extra contrast. Water needs to be darker than the sky significantly darker. So that's why I'm really spending a lot of time here mucking around with it. I think that looks decent. So right. What else do we want to do? Really, it's just looking at the trees if we need anything else to, you know, anything else we want to put in with the trees. But really, for the time being, the trees look quite right. Actually, I want to leave it for a bit and then maybe go back into it to put in some extra details, also lift out some colors, some lighter sort of values as well. That's going to be quite helpful. But yeah, as you can see, you can sort of just drop painting, darken around some parts as well, let some interesting blooms or what have you form. It's these little contrasts that actually make your painting look quite fascinating. You've got to have a lot of those in there. And I'll add more in later, maybe with a bit of wet on dry. Alright, let's have a look at the house. I'm going to need to pick up a smaller paint brush. Now, this is just a little round brush, and I've got some ultramarine blue mixed in with a bit of brown here, ultramarine blue and brown. Okay, but mostly ultramarine blue. I want a nice little, you know, coolness, especially running on the left hand side of the scene. So let's have a look how that looks. I think I need to dry it off first. Okay, fantastic. Let's go ahead and get in some of this cooler color now for the shadows. I've got a bit of ultramarine just mixed in with this other color leftover on the palette. It doesn't matter exactly what color is. As long as you've got a bluish sort of value in here, you're going to be fine. So you can see there, just sort of kicks out underneath this really nice sort of bluish value. And you've also got it runs right next to the as you can see, right next to them to the white. I'm going to mix in some brown with the blue again. I just want to darken this a little bit more. There we go. Yeah, just to make it really look proper properly dark. Okay. Just make sure I really straighten out this section to the left. That I mean, it all is pretty pretty dark, really, as you move out towards the back, even this sticks out there, that's sort of also part of the whole thing, okay? It's all trees running around. No big deal. Something like that. And we can start putting in a bit of detail now. Let's have a look. Up here, I do notice there's kind of a shadow running to the left of this building. So let's get a bit of that in there. Like this sort of runs all the way down like that left hand side of the tower. And this one here as well, you've got, like, a bit of that shadow running to the left hand side, like that. Bit of shadow underneath even. Yeah, there's some kind of shadow here as well, from the tower casting a kind of shadow. Might, like, emphasize that a bit better like that. Okay. There's actually a chimney here. I almost forgot to put it in, but I can emphasize that a bit like this side of this building there. Okay, little top part of this white area. I'm going to outline with some of this darker paint. You know, you can also see some little details like on the edges of this tower. I'm gonna just indicate some of this 'cause it does sort of run through, as you can see, nicely like that. Okay. That Okay, bit of detail in the building now, just on these little details there, like on the windows, just popping a couple of windows like that. Um some more little windows down below here. Simplify these down. There's also some underneath this area like that. Okay. Good. Water down this color touch and I can start putting in some extra little bits and pieces to bring this all together. Okay. You can't get this in exactly, but it's just enough enough in there. Okay. Tiny little details like for example, these like balustrade or something here. Okay. The rooftops, I think, would do well with some little like marks like that. Good. It's really just extra detail in. I want to just jig that left side a bit better, like that. Good, good. I want to put in a bit of shadow underneath the building, the rooftops, so just indicate some of this stuff here. So you can see, actually, it's quite dark inside some areas. You've got bit of shadow here. Shadow running to the right like this. What else do we have? There's a bit of shadow here at the top, as well that has to be put in this uh kind of balcony area. There's a bit of shadow underneath there like that. Okay. Just emphasizing a few of these other marks. Really, it's not a huge amount of detail, but just something to keep it looking more interesting. Okay. More green and other darker values. I'm going to drop in here for some darker sort of trees. It's just a kind of rigor brush, but it's got a larger belly. You can use any sort of rough looking brush for this. Okay. Just want to add a bit more sharpness onto some of these trees like that. And hopefully helps to sort of bring out part of this, the house, as well. I think the trick is leaving out enough of the previous wash, as I was mentioning before. There's also these shadows running to the left, which are quite important to imply. These tree shadows, basically. Ah, good. I just want to outline a bit of a area here that separates the rock and the trees down over here. And also, I don't want it to look too forced. Okay? That's the bank. Good. And I'm gonna pop in some downwards war sort of brushstrokes here and there for this, the reflections of some of these trees, but I don't want to overdo it. Yeah, just have enough in there, essentially to imply some of the trees being reflected below. Okay. But on the right hand side here, for example, you see, you've got all this lovely light. I don't want to get rid of that. Just want to make sure that's still, you know, more or less showing through. But, bit of this feathering technique does help to yeah, I guess, make it look a bit more blend those dark bits in, I suppose. Okay. Quick try. Alright, I've got a bit of white guash, and I'm going to use this to just bring back maybe some of these reflections just a little bit here, maybe on this right side as well, moving downwards, yep, like that. Also, the boats, the reflections of these boats, maybe a bit running downwards down the page like that. Um, yeah. Good. This way looks better. Just a quick downward stroke like that. Maybe some little bits on the shore like that. Okay. I don't have some just little waves in between, that kind of thing there and the trees, I think I will just put in maybe indication of some of the trunks. I don't want to overdo it. Just something to indicate some light of those trees back in the distance there. And we're finished. 14. Day 7: Iceland Drawing: All right, let's go ahead and get started with the drawing for this one, and I'm going to put in the horizon line just underneath the middle section of the paper and bring that all the way across to the right hand side. It does shift up a little bit on the right hand side. But apart from that, it's, yeah, really just almost in the middle or slightly below the middle part of the scene. It doesn't have to be exact. You can even shift it around if you want. Now, here is this mountain. I'm going to put this one in first and firstly just estimate roughly where the tip of it is. I think we'll leave that to be the tip. And then it comes down roughly to around just after the midpoint of the page. So maybe like here, okay? This mountain is important to get in roughly because it does form a yeah, it does form a big part of this scene. So, look, there we go. Hopefully, like here. Of course, I can just sort of spend more time on it, but I think that's going to be enough. Just something like this. Okay, so we've got this mountain there in the background. Of course, there's all these kind of details in the mountains as well. We can put in some of it. So over here, you can see there is a kind of ridge that runs, you know, across kind of areas that are not covered by snow, just sort of like that darker rock area, but really the right hand side of the mountain, if you look at it, it's almost like the same color. It's just all dark, okay? Plus, you know, you've got some really dark spots intermixed in here, which will get in later on. We don't need to do that with the pencil work at the moment. Okay. And let's have a look down in the end here, we've got this kind of big misty mountains all the way in the distance there, and you've got kind of, like, another ridge here, and this goes all the way across to the right hand side, I'll leave it. We'll leave it like that. Okay. I left a little bit more room. The paper is a touch wider than the photograph I've taken, so we're going to have to just make do with that. And you can see there are these small also ridges running through the snow. Okay, coming to the right hand side. Great. Fantastic. Okay, so let's start putting in these houses. I think this is going to be the most difficult part of the scene, funny enough, and it's not going to be too hard at all. This house mainly is going to be the one that's going to take up more real estate. So the rooftop is going to be just this sort of triangular, like, shape, Okay, triangular like shape. It's really I thought it just looked incredible. This house just in the middle of this area, stark, sort of white section of it, as well. Quite beautiful. And that's the rooftop of the house. Now there is a little chimney. I zoom in and just make sure I get this chimney in okay. Right? It's easier with the mechanical pencil to do this. Now, of course, it doesn't have to be perfect as long as you've got some sort of semblance of a chimney there. You should be fine. And the same thing goes for the bottom part of the house. Let's get that in here. Okay, run that across like that. And you got the side of the house here and well, the front of the house and the side of it there. Okay, so a little bit more care, I suppose, for this section is certainly warranted. There are some smaller details on the house, as well, which just sort of tempted to add in a bit of something. But again, I'm not going to focus too much on this. This is going to be quite a loose painting, so, you know, we've got some windows. This stuff here we can kind of get in afterwards with a bit of a darker sort of watercolor paints near the end. I think that's going to be it's definitely going to be better. There is this darker sort of ridge that runs behind, and I'm going to put this in because it runs just behind the rooftop, as well. This is going to help to add a bit of extra contrast. Runs all the way across there, and then, you know, you've got the cliff, the face here, I guess, near the water. And behind, you've got these tiny little kind of houses that just peek out behind there, and I'm going to indicate some of them, of course. Now, just thinking how many I want to put in and whether I want to actually make too much of a deal of these, but just something there in the background, I think that's going to be good. You know, a couple of little houses back there. Okay. And you've got this kind of bit of shadow or this ridge running to the right hand side, like a darker sort of shadow here. Now, all this area is going to be quite interesting because we've got this, like, road that runs all the way into the scene here like that. And then here. And then the road just runs into the scene, I suppose. There's across a little bridge there. Okay, but there's also the road leads around the side there, as well. Okay. But over here, you know, you've basically got these rocks. Now, I took this photograph to leave just enough shadows in here and a bit of light here, but a lot of this is really in the dark. So, you know, we just want to imply some of these, like, rocks here and you can see that sort of rock that's got a right hand darkness on the right hand side. There's like darkness here, okay? A lot of this we're going to have to get in with the watercolors. Don't try to, you know, draw it all in or to color it all in in pencil because it's going to Yeah, it's going to be unnecessary. Just waste time, okay? So that's another kind of rock there. I might make another one up just here as well. Okay? There's probably another one here. And here in the water, you've got more of these sort of rocks or shapes down here in the water. Okay, Rocks. This is all just like complete darkness apart from a bit of water that's reflecting some of the light from the sky. So I really want to make sure that we preserve that water this whole area here that I've left white. Okay. Great. Let's have a look. What do we have? Down here? There's another mound. Let's put in this little mound kind of in front of the house, like there, there's again, a bit of shadow running to the right. It all depends really on how much detail you want to pop in here, yeah. It's not necessary to put in all this stuff, but I do find it helps as a bit of a guide, so you don't have to worry later what you're doing, what you're actually painting, even though this is all quite abstract, okay? There's light running through this whole section. This is going to be interesting, really interesting to sort of paint. And, you know, that's getting some more of these hills, sort of hilly areas here. Okay. Good. Join this one on. Better. That's good. Fantastic. And behind, you've got, you know, cars and such like just sort of as you can see, just the shape of these vans and things. Some of them are cars. People rent out these cars, and then they just drive them through. Okay, simplify them down so that there's not I don't want to spend all day, yeah, just sort of painting these in, okay? Just have enough detail in there to just imply rather than state. And here, you know, you've got some more kind of these bridges and mounds and things running behind. And you've also got some smaller kind of houses. Like here, there's a rooftop of some house. I'm gonna just see just imply some house there may or may not include it after. Let's see what happens. I think we should though. It looks good this way. Just change this one. You know, you can make them look more house like if that even makes sense, but yeah, just sort of make the rooftops look more, uh a little bit more detailed than they actually are, you know, like this. You kind of have to make them sometimes look more like houses, funny enough, because you're losing a lot of detail in the painting when you're looking at the at the actual reference photo, it's so easy to spot all that detail, but with the painting, you really have to pay extra attention to make sure you include some of this stuff. Get rid of that bottom part. That's enough. Just the rooftop exposed. Should be fine there. Everything back here is pretty dark. So having a look just seeing if there's anything else I need to include back here, I think, um, I think we've pretty much I think we've pretty much covered it. Yep. I think we've pretty much covered it. So let's, let's get started with the painting. 15. Day 7: Iceland Painting: Going to add a bit of cerulean blue to the sky and also just maybe spray down a part here just to make it quicker. Okay? Now, I just want to drop in a very light wash Cerulan blue. It's about five to 10% paint, okay? Almost nothing in there. And it's a pretty warm day today, actually in Melbourne. So actually, I do think a lot of this stuff is going to spread and dry faster. So just cut around the mountain for now. Alright. Down here, the edges of this mountain. Alright. We really want to make sure you leave a lot of white in this scene, okay? Now, moving down here, this is where things can get a little bit tricky. I'm going to just drop in a little bit of I've got some grayish sort of paint leftover. I'll just drop in a little bit of that here, okay? Well, in this sort of cloud shape you know, thing But I'll leave a bit of that sky whiteness of the sky sort of peeking through, but a lot of this is really just a lot of this is basically just a bit of really soft cloud area. So it's like I wouldn't say it's the white of the paper, but almost the sort of white of the paper. Okay. So yeah, I'm gonna dull that down. I might have to lift up some paint afterwards to really get some of these white contrasts through in the sky. But yeah, I didn't want to leave any really sharp bits of white in the sky. I find that can really be jarring at times if you're not careful. Okay, so you've got the sky wash pretty much all dried now. And what I'm going to do is just start picking up some additional blue. So I've got some ultramarine blue here. I'm gonna drop that into the palette ultramarine blue, maybe a little bit of cerulean mixed together. This is the whole section on the right side of this mountain. It's kind of all if you look at it, it's pretty kind of bluish in value, but we want to make sure it's the right value. So I've probably got of this darker blue, probably about ten, 15% mix of ultramarine, okay. And then again, with a little bit of that cerulean blue in there. Okay? It to be careful. I'm just flicking paint everywhere. And do this from time to time if I'm not careful. Okay. You kind of get one chance to do this. And here is that ridge, this little ridge that we were painting in before here, so I'm just going to let's just try to get this in. And remember, it's kind of like this whole right hand side of the mountain that we really need to get in. And don't be afraid to leave off a little bit of white on the paper, as well. Okay. You can just see in some parts I've left off, okay? And it's not completely even this mountains as well. You can see sort of some you know, some sharper ridges and points. So yeah, have a bit of a play around. Don't be too worried about the accuracy of this. As long as it's following the drawing that you had put in there before, that's all you really want to worry about, to think about. Okay, so it comes down roughly here. Okay? I want to use a little bit more water at the base and add in some more blue, maybe a little bit of purple as well, okay? And this is to hopefully just leave a bit more paint here so that I can continue this wash further down once I'm done because it's a very hot day. This is going to dry quite quickly. The houses are here as well, so I'm kind of just cutting around these houses quickly. Alright. And we've also got a bit of this sort of shadow running here on this side of the mountain, yep like that. It's a really basic kind of shadow there. Okay. Good. I know it kind of looks a bit funny at the moment, but we'll need to put in the other darker bits of the mountain afterwards once this is dried. Let's move on to the right hand side, okay? We got really we got to be quick with this. Now, there's some little kind of lighter bits of snow. Can you see there just lighter bits of bluish colored snow that run through this white area, this mountainous area in the background. So I'm just dragging the brush through, not trying to make a big deal of it, but, you know, something there is important. Right? There, look, there's definitely more darkness of shadow and light and shadow, is what I'm trying to say. But, you know, just, I'm trying to do this all in one go, as well. See how you got these sort of little downwards triations in the ice. And, um, a lot of this is just kind of, you're making it up almost. Okay. Leaving a lot of it just white. Okay, fantastic. Let's move down the page. And I've got some green already here on the page, but if you've got on the palette but if you've got any darker green, just mix up a little bit of darker green. Tiny bit of that, uh A kind of dark green, really. I'm going to start dropping this in at the base, okay? It's kind of like a dark green mixed with a bit of ultramarine blue, okay? So it's kind of like a bluish green right here. It's quite dark. We need to make sure we've got some of this stuff here, okay? And this is already dried, unfortunately, but some of it hasn't, so I can kind of you know, feather a bit of this darker bit darker sort of stuff in. But this isn't the end of it. This is just a touch of it to get it going. I'll have to work on more of these dark parts of the mountain later on, okay? But what we're doing here is that I'm just sort of cutting around the rooftops of these little buildings, okay? Use that sharp point of the brush to do it. And I'm actually bringing down this bringing this down a lot further than is implied in the reference photo because I really want to just make these houses pop out more, okay? And there's actually more green in there, but it doesn't matter. It's just continue on. Like a bluish green color. You mix them together, they'll start producing interesting combinations inside on the page. So that's not too, you know, worry too much about the accuracy of the color. Just make sure that you've got darkness here. Now, behind this whole white house, as well, Oops. I've lifted off some pant down there there. Now, behind this whole white house here, I'm going to also add in this darkness behind, okay? Now, really got to be careful here to just again, cut around the rooftop. Should probably be using a smaller brush, but I can get away with it. I don't like to change brushes unless I really have to just takes up too much time, I find. Gone up a little bit too far here, can lift off some paint like that. There we go. With a bit of tissue. There's a little bit of correction that's possible with watercolors, but you want to avoid doing that too much. Okay, so here we go. These house is here as well. Yep, let's just bring this. It's kind of like darker ridge, I suppose. I'm going to put in more purple because I think there's just there needs to be extra darkness here. It should be kind of sharper as well in front of this mountain. Okay, I might have to kind of go over that side a bit more, but, yeah, just for the sake of doing this all in one wash, I think it's just easier to do this. Okay. Again, cutting around these little silhouettes of the houses or what have you back there. You know, this is all just kind of one big darker spot there. Yep. Yep. That darkness just runs all the way into the back of those mountains. Okay. But I might have to just rejig that line once this stuff has dried off a little bit. Okay, let's have a look. How's everything looking now? Not bad. Not bad. So a little bit more extra darkness, I think, in this sort of ridge, as well. Here, just carry this downwards a little more Yep. I'm really just trying to put in a bit more of this darkness around the building so that it comes out. Yeah, more sort of stark. Okay? Now, I'm going to grab some green, just some normal green with a bit of yellow mixed into it. Now, what we're trying to do is just mix up a lighter green, if that makes sense. Just a lighter sort of green. We don't have much light in the bottom of the scene yet, but we want to put it we want to make sure that this comes in nicely. So here we go. And let's just go around. You know, we've got going to bring this all the way through, and I'm connecting see the top part there as well, connecting it on all right. So you might get a bit of a line there, but it should sort of blend nicely, okay, bottom of the house. Just cut around it. Just cut around it. Don't worry about the house for now. As long as you've left it white, you'll be okay. Alright? If it's too dark, just add some little bit more water and continue on. Okay? A bit more yellow in there to just make it a bit more lighter. So but look here, again, these cars and things down below kind of, um, look, it's not 100% necessary, but I think maybe just implying them will be good. Implying some objects, cars, or whatever here, anyway. So be a house. That could be something distant house or something back there. Okay. Bit more lighter green by just adding more water. And I don't want this green to be too vibrant, as well. So let's move this across, and, you know, here is the same sort of deal. We've got these kind of houses there, and the paint has already sort of dried in that back area there. So it see how it's forming a nice little sharp edge. I don't really need to much. I'll just leave that, okay? Now, on all these kind of rocks, you know, you've kind of got this kind of moss that's growing on the left side of them. So I will just paint a bit of that. Really should get the whole thing in, yeah. And then afterwards, we can get the darkness in the moment because we're going to put the darkness in as well. We're going to do this all in one go, but I just want this to have enough green first before we attempt the rest. I love painting wet and to wet and especially for these type of scenes, you're going to save yourself a heap of time and come up with something quite incredible if you allow the paint to work with you, right? So that's just the same sort of green. Of course, you know, notice how I'll just sort of drop in some other darker bits of green here and there as well. Just, you know, don't be afraid to do that. And here, you know, near the road, look, we're just going to bring this down, cross cut around those, you can see those like cars and this sort of yeah, we'll have to redo that afterwards. Great. This road, as well, I think I'll add in a bit of gray, got some Pains gray here with some blue, a bit of ultramarine blue and pains gray mixed together. You know, this needs to be in here as well, the indication of this road, it goes across to the right hand side, as well, maybe around the back there as well behind this rock. I'd love to just blend things together, you know, create a bit of Uh, Harmony. Alright This is starting to dry, which is good. Now, over here to the left hand side, I'm going to paint this in pretty quickly. So more yellow, a little bit of yellow, some yellow ochre, as well. I think that's just a bit too bit of yellow ochre with some white guash. I just want to dull this area down a touch so that it's not too I still want it to be, you know, have a lot of light showing through, but I don't want it to have too much too much saturation and brightness in there, say brightness, but two sort of gaudy looking colors running through that section, if you know what I mean. Okay, so that bit's done, okay? Left some whitened things out on that side. Now, here is the part that we need to paint in wet into wet. So I have myself this same brush. I kind of looking around. Let's have a look. Now, stuff has really started to dry, especially on the right hand side. Okay, but it's not completely dried yet. But what we can do is start to mix in a bit of darker paint. Now I've got some purple which I'll mix in with neutral tint, maybe a bit of blue, a touch of brown. We want this to really be the darkest part of the entire painting. This has to be really dark, but it's also got to be interesting. Don't want to use normal just black in there. So let's drop this in, okay. Now, we've got a bit of a soft edge there, which is fine. I do want this to happen in some parts. So there, okay, some of this will spread up a touch. Can use a hair dryer to just dried off a touch. And we're going to continue along looking at that reference photo and getting in this sort of coastline, I suppose, here, okay? Cut around that. You know, you've got a bit of the shadow, as well. Now, some of this is going to spread and some of it will just stay put. But this sort of shadow here that runs to the right hand side, I want to get some of that in. Okay. Right. The some of this darkness here. All right. And, of course, the right hand side of these rocks are where we've got all this sort of darker color that we want to imply. Okay. So let's just work on that. It has to be mostly dried. Okay, there is also something here. Look, I'll just get in the right hand side of the dark a bit and then cut around it like this. Okay. I just This is just a bit of hit and miss, I suppose. It's not going to be perfect. By all means, not going to be perfect. We're just trying to get an impression of what's happening here. So it's like kind of a bridge here you can see that just runs to the right. And then, you know, you've got the road down the bottom here. And it's just darkness around this edge of the cliff. Okay? Just complete darkness. And underneath, this is where you've got all the real dark colors there just running under, okay? So I want this all to just join up nicely. Like this is even in the water, there's a bit of this dark sort of rocks in the water as well. Let's get in some of those here and, you know, here, maybe, you know, just little darker sort of rocks. Okay? Leave that for a little bit. Now over on this right hand side, you know, I'm going to actually re wet this section a touch. Because it's going to be easier to paint wet into wet. Now I'm going to mix a bit of green into here as well so that it sort of moves better. It looks more kind of like grass. And remember, we're leaving in some of this light running through this whole section as well. So don't forget about that. This whole section here is kind of like a bit, again, a bit of grass leading to the right. Here, you've also got this same sort of thing like that. The It's very loose kind of work. Don't try to don't overwork it and don't overthink it. Just try to use a few brushstrokes to imply this, and it might not look like much. It might kind of look like nonsense, actually. A lot of the times I paint this stuff, and I think I don't know what I'm doing. But if you focus on if you focus on the light and the darkness and just paint the light and the dark, have faith, and it will come through in the end. Kate. Some more kind of shadows there, the grass, as well. That's just a lot of there's a lot of stuff going on in here, really. There's a lot of stuff going on in here. There's even, like, a smaller mound here. I've just used one brush this entire time. I'm going to actually switch over to a smaller round brush to aid me aid in this sort of issue here because it's just becoming too hard to paint with that larger brush to switch to a smaller brush, kind of like a detailing round brush, I suppose there. Like that. Good, good. It kind of goes up a little bit more, and you can see just some of that more of this sort of stuff, these mounds or whatever that are just running across the scene, because it's not just one green color running through. There's a whole lot of different colors running there. This area down the bottom will do in a moment. But I want to also work on this area here. There should be some blues here. I'm just going to use some cerulean blue mixed with a bit of ultramarine blue, and we'll paint this in quickly, and it needs to be lighter as well than the surrounding darker values. Kate. Just as long as it's blue, cutting around all these mountains and stuff. Not mountains, sorry these little rocks and things here, Kate. I kind of wanted that to blend a bit more, but that's fine. We'll make do with that. That looks that definitely looks like water. Keep it blue. Now, this area here, I'm kind of a bit worried about this because I do think it should be darker due to the shadow being cast from the left. So I'm gonna mix up a little bit of blue, drop some of this in here, Kate. And we will get that road in some grayish value here. Good. Okay. I don't know if it's still 100% looks like a road, but it looks better. Makes more sense. Okay. Just having a look to see if there's anything else I want to imply in here. Um, I think that looks pretty good. So we're gonna leave it, give it a dry and then come back to it with a second wash. 16. Day 7: Iceland Finishing: So everything has all dried now. And the next stage of this painting is basically just putting in all the final finishing touches, all the darks, well, the darker sort of areas and details. So the mountain area is what I want to work on first. This has dried sufficiently now. So we're going to mix up a bit of I'm going to get some purple and a bit of ultramarine blue. Even ultramarine blue should do the trick. I want to keep this pretty dark, as well, okay? It's mostly probably about 60 or 70% paint. The rest of it is water. Okay. And I'm going to start maybe here. Let's just test this out. Okay. Now, that ridge here, that's got to be darker, okay? And I'm using a little round brush for this. Okay. Now, the trick to this is try to be intentional. The more I find that I'm touching onto the page and modifying things, I find that the more amateurish and the more kind of uncertain the brush strokes look. So you kind of got to be quick with it. And areas where, you know, you might want to just dry brush like this, see, to just get in that darker rock or whatever in there, kind of spread it a little bit too far to the right, but that doesn't matter. Okay, we're just going to darken this bit here as well, down the base here. Yep. And again, this is kind of to even reemphasize this line here, this sort of sharper line where the mountain disconnects from the rest of the scene in the back. Okay. But let's just continue working on this mountain first now. I don't want to spend too much time doing this. So let's just put in a few little brushstrokes like that. You know, we've got Jesus, all these sort of darker spots up here as well. Let's get some of this in, okay? Remember to remember to be careful and leave in the previous wash a lot of that previous wash, as well. Okay? So it's not all, it's not all just darkness running through here. Good. Okay. Now, something I want to do here again is just I want to add on a bit of a rake, behind behind the buildings. It's almost like, like I said before, this darker edge that separates the buildings from the actual from the actual background. I can only do this wet on dry. I tried doing it before, but it was just too wet to be able to imply that. So we've got that opportunity to do it now. Okay. Good. It's kind of like a greenish blue mix, greenish bluish mix. Round about here, just sort of stops there. And yeah, it's a bit of this rework, I suppose. You're going over the top of some previously painted stuff, but I don't normally like doing that, but I have to do it in this case, to make sure that we get in a much more crisp, sharper edge there. This area of the buildings, like, I need to smooth this off a little bit. Let's just do something like that. Okay, good. Some more here. I just doesn't look strong enough here. Right. Like I said, the less you touch the painting, the better. All right. That looks pretty decent out the back. Separates out the mountains and the back area. The touch now, I'm going to switch to a smaller brush, a little round brush. Okay. Probably the smallest ambush that I have. This is a number four, I think. So let's put in some of this roof color, which I'm just going to mix up now. Really, I've just got panes gray and a bit of brown. Okay? This has to be pretty dark, as well. And also got that chimney, which we've kind of lost out, actually. I'll have to bring that back later on. But we can leave a bit of it still there, maybe, okay, like that. Now, this rooftop, just color it in darker, like that. Here we have it. That's the roof and the left hand side as well. Just a bit of color there to the left of it. Great. Now, underneath, you know, this is where we kind of need to just imply some little details. So I might just drop in something there for, like, a door. You know, this can be a window up the top. From this distance, you know, you really can't see all that much going on, okay? So you're just kind of making these little shapes, I suppose, indications of detail. Um, things that may or may not actually be there. Something like that that's enough, okay? A bit of ultramarine blue or just a cooler value to the right hand side of the building, as well to make sure that the shadow is implied like that. Okay, that's all you need. Just a little bit of color like that to the right hand side of it. Wish it was a bit bluer more blue in there, actually. There we go. Just retouch that a bit. Well, the paint's still wet. You kind of got have an opportunity to fiddle. The touch. Okay? Of course. I just need to join this on with the shadow again like that to the right side. Some of these shadows, I tell you what, it does it does pay dividends to retouch some of them, okay? We're going to have to do it in a few different areas, not just this area as well. The houses, so the same sort of deal. I'm going to simplify this down, and you can see there in the background there the houses and light source coming from the left hand side, so you're gonna get maybe a bit of darkness here, you know, a bit of darkness underneath like that here. Again, this is all just um kind of indicating indicating bits and pieces, really. It's, it's not going to be perfect, but sometimes you might even want to exaggerate, like, parts of this like this here. Maybe I can put more darkness on some parts. The right hand side, like that. Bit underneath here. These are supposed to be cars and I've lost the detail of those cars, but maybe I can just imply a window or something like that there in the back end of the car. Again, I'm not fussed about putting in all the details for all this stuff because you can really get dragged into something and, um, forget the whole what the big picture is at the end of the day. So that's the house. I think the house looks pretty decent, okay? The rest of it is, yeah, just adding in some final finishing touches, some final shadows. I'm going to I reckon I'm just going to spray this area a little bit again, okay? So that I can get in some shadows, but also make sure that it doesn't look too sharp in areas. So look at that just something here. Yeah. Because, this area does need to be a little bit little bit darker, okay? Yeah. Even if you have some sharpness in there, it's also not the end of the world, yeah. I just needs something here in the foreground to make everything sort of come together, right? Some darkness in the foreground. It's really necessary. I think, in my opinion, anyway, I think it's necessary to just dark and really add some extra darkness into the foreground. A lot of this stuff already just kind of dry as it is. Um, we shouldn't dry really any darker. Yeah, this sort of road that I'll just indicate here, you know, just with a brush like that. What else can indicate? Maybe like something here, like a bit of the undulation of the land and another something like that. Okay. It's not just the same color. There's a whole lot of bits and pieces going on in there that you need to indicate. And, uh, Maybe I'll put in a bit of yellowish guash, as well here a little bit of yellow and a bit of white guash. Some parts, I don't know. Like there, perhaps. Not too much of it. Something Just something to come through. Dab it off a bit. You have a bit of this milky sort of color. Okay. A bit of scratching off here as well with a little blade to again help with the indication of this grass in the foreground. You've got to do this just as the paint is drying. I've got in a little bit too late near the bottom part, but near the top here, you can see, I'm getting a bit of having a bit of luck here. Okay. This also helps to separate this sort of higher land from the road below. Alright? Because at the moment, it's kind of not so obvious that it's above ground. So, yep, it adds a bit of extra texture. A little bit of extra detail. Of course, you can paint it in, but I think it looks a bit more natural when you do it when you actually do it this way. Okay. Put a bit of blue in for these cars, whatever it is, just gray or blue here. I want to get them out of the way a touch. Um, Yep. There's just a road underneath them, as well. I'm going to imply that. It's difficult Okay, but I just wanted to darken those off darken those cars off a little bit, 'cause I thought they just look a bit a bit too much. Now, I thought also here we could imply some darker bits of snow. Like you can see there's actually another layer of darkness in some parts like that. May be here. Okay. And. Exaggerated a touch. Um back here, there's some maybe little ridges or what have you. The distance. Okay. And also here, I think a little bit of something will be good running through the whites. It's not just completely white. It's actually some coolness, the intermediary section, I guess, here. But there are parts where it just sort of joins on almost Okay, touch of white guash. This is going to bring back some highlights at top of this, chimney. Shanty where I can sort of bring it back. Something like that. It looks a bit crooked. Let me try to fix that up. Okay. A bit of light maybe on the roof here. Little something like that. Yeah, this little house is kind of important, maybe a bit here. Um, you might have areas where you just, uh, think you put too much, um, snow, too much, um, too much snow, but too much blue, so you can sort of bring some of the white back like that. Try not to overdo it, though. It's kind of just a bit of dry brush over the top. Okay, helps when you've got textured paper like this. It really makes it a lot easier. There's also maybe a section here. I could do this on like here. Okay, it hasn't completely dried yet, but it doesn't matter. I might just blend a bit. I just want to bring a little edge of this kind of down a touch like there as well. Bit of light on some of these rocks to the left hand side, anyway. Very light bits and pieces. You even see, like, the little poles and things running down the Sea, just these tiny little um Flags, is that a flag? Looks like a little flag. I don't know. Indications, I guess. Put another one here. Why not? Maybe another one coming out at the scene like there. Another one here, maybe. Yeah. Okay. Helps to give the scene a bit more more context, 'cause really at the moment, it's just a lot of um a lot of abstract looking shapes, isn't it? Okay. Great. And I'll call that finished. 17. Day 8: Stockholm Drawing: So this is a pretty ambitious scene then. It's a photograph that I took while I was standing on this, I think it was just an elevated tower and a viewing platform, I suppose, an area that was kind of half closed off, but I managed to get my camera through one of the grates and take this incredible photograph of Stockholm. And there's so much going on here, and I think the temptation is really to draw everything in. But what we want to do is really look at this scene from the point of view of the light coming through from the left hand side. You've got the main shapes of the building. So you've got the large stats whouset here, this central building. I can't remember what it was called. That's got to be, I think, probably some kind of royal building, and on the right hand side here, it's your legal sort of building, actually. And on the right hand side here, just some additional sort of buildings being hit by the lights on the left. Now, it's all these roads, cars, tons of things here and there, but we're going to, you know, try to simplify this down as much as possible and come up with, I think, a more cohesive looking scene, and we're going to edit out some bits and pieces, too. So yeah, let's go ahead and get started. So first thing I want to do is look roughly where the buildings hit the water. Now, we've got to kind of separate out the kind of areas that are uh, you know, where the water is and then basically everything else above the water. So I'm just going to start drawing a line here. Now, this is just underneath the midway point of the scene. There is some kind of shrub here. There's a boat here as well, okay, near the edge of the scene. Okay. I'm going to just quickly draw in an indication of that boat. It's a ship, actually, there. And then you've got like this sort of that comes out here. Now, I think what might actually help a bit better is if I start sort of penciling in this road that's coming in from the left hand side of the scene, all the way through to the center, I wouldn't say the center, but just underneath the center point of the scene, like roughly here, okay? Doesn't have to be too much for now, but just enough to, just enough to get started. Okay? That's this other kind of train tracks over here. Okay. And I believe this part here goes into the old town of Stockholm, okay? And then, and here we have the, you know, it's just so many little details. I'm going to get distracted if I don't get this sort of road in first. There's other row that comes out going to the right hand side and finishing off near the base here. The really big aim here, guys, is that we want to just simplify this down because if we don't find a way to simplify this, it's going to be an absolute an absolute nightmare. Okay? So those are the general roads, I suppose, that are just going into the scene. There's kind of a bridge or something here you can see, and behind there, you can see just another, you know, track just leading all the way behind. It kind of gets a bit dark. But here, you know, you've got little cars. You know, let's just see if we can draw I'm going to draw a bunch of them in just basic little boxes. Yeah, maybe just zoom into the photograph to get a better better indication. If I can draw one in, especially that will give me a bit of a a bit of a indication so that I can kind of copy that general shape on for the rest of them. Of course, these cars come in all shapes and sizes as well, so we've got to, I don't want to overdo it. It's a back kind of windscreen there of a car. There we go. An indication of a car. Again, this well, these shapes and things are probably going to change later on. In fact, that is too small. That car is way too large, sorry. You're always just reassessing. Whenever you're drawing something in, you're reassessing, looking and seeing whether it makes sense, okay? And the scheme of everything in here, it's way too large. So I just make it smaller, okay? So it sort of looks like it's just going in. That's even almost a little too big, but we can get away with it. Um what else do we have here? You know, is like another This is a train here, and you can see the side of it. It's really just a long rectangular prism, if you think about it. Just a long kind of rectangular prism. There's another here as well, this uh other part of the secondary train here in the back, again, disappearing underneath this bridge. Okay? So you've got two trains and very simplified, as you can see, not really much to put in there. These two rectangular shapes. You're always looking to simplify down everything into basic shapes. Okay, don't draw the actual car or the building, draw the shape of it. And that's going to make life a lot easier for you, okay? What else do we have here? Just go to outline this a bit better. There is a bottom part here that sort of, just the bottom part of the scene here. And I'm going to just extend this out. It's gonna be pretty dark out in the bottom, as well. So I reckon I will simplify this area down a lot and just make it, you know, a fair bit darker, once we get once we get to that point anyway, so there we go. That's another part of this dock, docking area, I guess, there, and there's another bit of machinery and bits and pieces sort of sticking out here. And at the time, they were doing a heap of construction down below. So I was trying to sort of get rid of that so that I yeah didn't sort of include into the reference photo. Okay, so that's kind of the bottom, the little planning part of the bottom area, anyway. And I want to just get in here. Let's have a look roughly where is this main building in the center? It's a yellowish side. Reckon it's like a bounce. And smack dang in the center, but the darker side anyway. I'm just going to start drawing in now very loosely as well. I don't want to put anything in that's going to be too set in place. It's just a rectangle on its side. Inside the building, you've got these other bits and pieces. You've got another rectangular bit. Then you've got this kind of shape like this here, here, you've got another sort of semicircle there. The trick is to just keep Keep it simple. Okay? Keep it simple. And it's the rooftop here. Thank you. And let's have a look. This right hand side. There's more details. You know, it's really just darkness, so you don't have to just put in too much there, but something like that, and the dome of this I want to say the dome, but these sort of pointy bits on top as well here. We just want to indicate that. Now, I can't see them too well, but, you know, again, you're just sort of looking at it and simplify it down. They look like kind of triangular triangular shapes on top, that's gonna that's really going to help. And in the whole building, you can see there's these little windows all over, so we can just sort of drop in a few little marks like this, okay? It's actually quite a detailed building. I remember actually, I think, sitting in front of this building. You walk by the water. Absolutely beautiful. I got to find out where it is, what it is. I think I know it, but I just can't remember off the top of my head at the moment. Let's draw in the side, you know, again, more of these little buildings here. And it's really futile to try to get in all the details. Now, just kind of putting in as much as you can. Let's have a look at the scene now. We've got this tower behind. I think it could even be a church. Yeah. So let's just sort of analyzing it for a second, seeing how far you want to put this up. Bit of paper I have as well, is a little bit taller than the reference I have. So that's alright. That means it'll just get a bit more sky in. So I'm going to get in this tower just behind, well, the church or what have you. And let's get in the side of it like this. There, it's actually not that tall. It's kind of like around here. I'm trying to make it a bit taller, but it's going to look funny if you It's gonna look funny if you're not careful. There you go. Take your time with this drawing. This is a very large sort of scene. A lot of real estate to fill out on the page, so you kind of got to definitely take your time with it. The That's the second part, like that. And then here and you've got these sort of spires or whatever you call them, and then you've got the actual top of the tower or the church. Keep calling it a tower that just comes up like that. Okay. And again, I really am not interested in getting the exact little details of everything on there. Just a brief indication, I think, is going to be quite enough. It's a window on the side. You got another window maybe there. You just bring this down a bit. Okay. Yep. And, you know, you've got something here. I don't know what that is. It's like a behind there, as well. The amount of detail on this you know, is just incredible. There's so much going on here that you really want to you really want to be careful. And there's, you know, simplifications, where we see there's this building here in the background. I was going to put in that, you know, just some kind of building all the way back there, and sort of building in the distance. I actually goes along the right hand side a bit more. That's like a rectangular sort of building. Comes down there. There's all these las shapes and bits and pieces. God, it's just so much happening there. So look, as long as you've got the main buildings, you're you're going to be fine, okay? So you got this one here, there's all these sort of other ones here. There's another building that sort of sticks out. There's another one here, then you've got another side of the building there, and then there. And then, of course, you've got this rooftop, that. It's so hard to see exactly what is going on in this area. But we can certainly indicate some details. A lot of this stuff is going to be in in darkness anyway. Okay? There's another building here that has, like, a nice bright side that's hitting the light, you know, so it kind of there it's here. There you are. Right side of it there, that's hitting the light. And you've got, like, the rooftop. Like This okay? That's going to be illuminated by some light. I don't want to forget about this left hand side because this is important as we're spending too much time on that side. It's getting this sort of foreshore area there. Okay. Got that sort of shrub that I drawn in earlier. There's a building right here. A bit of darkness on the building, as well. And going to go up a bit. You've now got this other sort of building here to the left with some windows. There's so much happening here, so you really just want to be careful. Don't overdo it. And then you've got this building here all the way in the background that is probably a lot more simple than it looks like this. Okay, some windows, and that's pretty much it. Now, here you've got the stads who set to the left. Se city City Hall building, believe in Oh, this is a tricky building to do, but let's just give it a go. So there's some darkness here to the right hand side. And then you've got this tower. Let's make sure that the tower doesn't go up too far. I'll put the top point like look roughly about here, maybe. Roughly about there. Okay? And let's keep in mind, this is a look at the shape of bit. It is just a rectangular shape. Yeah. Just a rectangular shape. And just start putting it going up, okay? Like that. I can spend all day on this, but let's just simplify that down, okay? Looking at the shapes inside it. It's a triangular bit. There's a couple of verticals there, and then there's lot of interesting sort of stuff going on underneath there. And then it just sort of tapers into this this, you may call it, rectangular shape like that. How far does it go down? Roughly about here, hey. I may get a bit larger. It's actually looks better that way. And let's get that left hand side in, as well. This is quite important, okay, because this is, you know, it's a very, obvious landmark in Sweden. I might bring this up a bit further, yeah, like this. It was a little bit too tall before. And we'll just get in the left hand side, roughly like this, and we've got a bit of this kind of rooftop or whatever there as well. Okay, how does that look? How does that look? Looks right. I'm just trying to see if I'm always just trying to compare and just see if it's actually the right proportions in relation to everything else in here. So I think it looks okay. We can get away with that. So there are these little as you can see down the side, these little bits and pieces. There's a windows, doors there. You actually walk down there. You can go in. There's a really large courtyard inside. And, um, during some parts of the year, you can actually climb up all the way to the top. I was trying to get there, but I wasn't able to on the day. They had closed it. So let's go put in some of these other buildings here in the background. Check this out. It's all just white buildings and there's, you know, triangular bits. It's just Look at that. It's just kind of overlapping shapes, yeah, of these kind of buildings and things there in the background. And of course, uh, you know, there's these triangular bits as well, which is interesting, okay? It all the way in the background. Um, I think that might probably be a little bit too much come to think of it now just simplify this down so that I think having having some of these buildings too tall, it's gonna mess around with the mess around with the tower or touch. But having a little bit of white back there is going to be good. Okay, some distant buildings. That's all you want in there. On the right hand side, again, more of these sort of shapes. Look at that. Buildings in the background. You can barely tell what is happening in there, but you need to put something in there to indicate the details. A lot of that will just disappear, I believe once we're done near the end. Let's have a look here on the right hand side. Where will we up to roughly about here. We might start working on this building here. You've got kind of a few buildings really that just sort of stick out, and they are behind trees as well, but you can see the sunlight hitting the side of them, you know, and, you know, I just trying to make out the roofs that yeah like that. There we go. That's one. Okay, there's a tree here on the side, so it's kind of obscuring a good part of the building. Okay. And then here you've got let's look what is that building? Is the thing with some of these buildings that they're so intricate and detailed that when you try to draw everything in, you're just inevitably going to fall short of implying it. We're not implying it, but getting it in. So you just have to do your best to to imply it. Okay? So there's the side of another one there. You know, even if they're not in the exact so called right spots, it doesn't matter, okay? Just estimate as much as you can, because like I said, if you spend all day doing this, you're going to drive yourself absolutely mad. Yep. It's kind of like this row of buildings, you know, just these kind of row of buildings that just overlap next to each other. I mean, just like this, really, and they just separate out into different sections. This one's got a bit there and the rooftops, of course, just go into the back like this. Really, a lot of stuff going on in here, but that should be good enough, okay? And of course, when we start painting, it's going to be a lot easier because we can just detail more. So let's put in some more stuff here in the background now. I'm going to try to reduce actually, a lot of this in the background to a basic silhouette because if I sit here and try to get all this in, it's going to drive me mad. So this is just a bit of an indication of all that stuff in the background, but, again, it's not going to be a heap of details. You see this sort of some shapes in the back that are more obvious. Okay, but apart from that, there's just a whole lot of details that almost blend into one. You could get it in with one sort of color. There's darker bits. Who knows? What's in here? There's another. Ah, these buildings here, these two sort of interesting looking buildings. Let's get them in. Uh, I wonder what these are. I should know what these are. Okay? But they just have a very, you know, very kind of it's interesting shape, and I bet you this is just some kind of important building, maybe a hotel or something. I don't know. But I've got to get that in. Okay, 'cause it's just too obvious not to put in the detail for that. Okay, so what have we got here? We've pretty much got a lot of what we need in here now. And this stuff here in the background, again, it's just, you know, just simplifying that that line there in the back of the buildings, all the way in the back. This is looking a little bit messy to the left, so I think I might just tidy it up and touch and simplify it down. Now, this is something that you have to be careful with in watercolors. Like, you are trying to tell a story here. And if you're not careful, if you're not careful, you can end up with something that's way too crowded, way too detailed. Fixing my razor. Okay. So let's have a look. Stand back and have a look. Now, we've got pretty much all of the yeah, all of the main buildings in. I think for a little sketch, this is looking decent. But I think what we want to try to detail more is some of this foreground stuff. Okay, because there's just a lot going on here. And if I don't kind of put in a little bit of detail, now you can see here these kind of bits that stick out of the water, like people put the dock their boats here, I guess, underneath the bridge, like that. You know, this adds a bit of complexity and a bit of interest down below. Okay. You look at this. There's even I don't know what this is, like, a little shack or, you know, you know, those portable buildings portable buildings maybe just sitting on top of this area there. It's just a It's just a box. Drawing a box. It's all you need to do for some of this stuff. And you don't even really need to get all this in anyway. It's just look, I reckon I'll probably just dull this all down later and make it quite dark at the base, fade it up so that I don't have to uh, detail all this because it's so much, really, it's, it's too much. Yeah. Even underneath the bridge, you can see here, there's a lot of this darkness, and then you can see some vertical parts of the bridge just kind of blending a bit into the water, okay? I don't want all these cars and things to be a central point of the scene. I want the eye to sort of go in, but then focus on the buildings. So let's have a look there. There is a bus here, it looks like a bus anyway. Let's just get that bus in. Looks almost a little bit larger than the train even. Gigantic sort of bus like that. Is it a bus? Yeah, I think it's a bus. One of those really long sort of buses. What's here in the background? I don't know what all this stuff is. There's a lot of detail here. I think they were constructing something, so we can I can actually just, um, omit a lot of this detail for later and also work on getting in some shadows. Like, think about how I want the shadows to come through, maybe like that. Yeah, thinking about this for a moment. And there's not really people. There are people walking around, but it's so tiny. I mean, I can just maybe indicate some of them later on, but they're just so tiny there that you want to be very careful with how blanche you put them in, okay? But you can put some people in there. This is like a road there. Yeah, I actually think some of these buildings should be a touch like further down, but it doesn't matter. We can make do. Okay, let's have a look. We can sort of make some little shadows come across that kind of thing. Having a look. Great, great, great. All right, let's go ahead and get started with the painting. 18. Day 8: Stockholm First Wash: Let's go ahead and grab that mop brush. And the important thing here is we want to make sure we've got all this kind of these lighter values running through. The bottom part of the scene is mostly dark, but you do have some little highlights of kind of warmer areas in there. So I reckon I'll start with this building here. Let's just go in with a bit of yellow ochre. And I've got a bit of Indian yellow, as well. Let's just drop this in. I don't want it to be too vibrant, but also it does help to have, some kind of light source in this scene and just make it look like there's a bit of golden color, I guess, on the building itself. Okay? There we go. That's nice. Bit of that. Yeah, it's quite a central part of the scene. Okay. Now, guys, if you end up going over the top of some areas and it mixes, don't worry too much. We just want to get in a indication of all the colors and the details in here. This stuff is all going to be covered over with some. Darker values afterwards. This building here, I'll probably just leave some part of it white like this left hand side of the building there. Okay, just to really emphasize the light. Good. It's just yellowy color. You can mix other colors like there's a bit of brown or something here as well. Like this building, for example, that could do with a bit of brown up the top, okay? Blended in. Now, very light wash. This is what I'm using here is about I would say five to 10% paint. The rest of it is just water and we have to be very light here in order to indicate the sunlight hitting these buildings, okay? Because if you're not careful, we can make this way too dark, and it's going to look overworked, okay? Anywhere in the scene that you might see some, you know, check this out. There's like a bit of yellowish area there, you know, a bit here behind. You just go in and just drop in a bit of that paint. There's also a lot of gray kind of areas that I can just you know, put in a bit of color there, okay. But essentially, you've just got a lot of warmer and darker values running through here, okay? And even here, there's some kind of white building behind. I we leave that in. I don't know what that is, but let's just leave that in anyway. If we can really work on getting in a little indication of everything and just try to sort of combine the shapes as well. So it's not just one it's not just, like, individual building standing around, but kind of like a clump of buildings. I think this makes it a lot easier. Even this whole area out the back, see there? I'm just trying to get this in with one go. The sky I'm going to worry a bit about later, let's not bother with the sky just yet. Really, I just want to get in a nice background wash for all this. It's so important and to keep it all in one big layer as well. Okay, here is brown bit of Yep, just a little bit of brown there. And then in the background, I've got some bits of yellow ochre here and there. But really, for a lot of it, it's just we can drop in this kind of grayish value. And again, the gray is just a combination of all the colors remaining on your palette. I like to use blue and a bit of brown mixed together. That tends to work quite well. You know, just Oh, gone a bit overboard with that one, but it doesn't matter here. Okay. And let's just bring this wash down the page. All right. You're always remembering to keep some parts of the light. Don't try to paint everything in. You know, even some of the buildings you could potentially keep white, or if not, just put in some yellow or something down the sides of them just to indicate that light source running to the left inside, like that. Maybe this building these buildings here could do with a little bit of color as well, leave that one white. Really, for the most part, if you look at all these buildings, they're just, like, yeah, they're just kind of the grooves are gray, but the rest of it is kind of, um, lighter on the left side. Okay? What's here? Yeah, there's some darker sort of part of the building there. Just get that in quickly. Um, really on the left side here, there's just yellowish color. I'm getting really got to make sure that we always have to remind myself this is just the lighter part of the scene that we're painting. We're not trying to get in any details at all, okay? We're just getting in some light. So more yellow here. Yep. No harm adding in too much yellow. You can always get rid of it later. There's this building here. I just forgot about this stuff to the left, so we've got to quickly get some of this stuff in as well. Down below, forgotten, but there's a lot of this grayish color as well for the bottom part of the building and this road area, I guess. I just spray this a little bit so that it oops, so that it just spreads a touch. I feel like that's just not blended nicely. Okay, good. There we are. Of course, you've got this kind of boat to the left hand side there that you can just indicate quickly. And I kind of lost out on the detail for this boat, actually, but just with the brush, you can put in some indication of where it is. Okay? It's made it maybe a bit too big. Put it roughly about there. Okay. If you go light enough, it doesn't nothing will come through, so don't worry. Okay, good, good, good. Here at the base of these buildings some light Oops. Sprayed myself to face. Okay. This area, it's really just a combination of browns and grays and God knows what's in here. But yeah, I might just leave the front of those front and the top of these little trains or these indications of trains, I suppose, something like that for now. Okay. This yellowish value running there, but it's really just the same old color, if you think about it, it's just kind of like a grayish value with some yellow running through it. I find this is going to make a better simplifies this a lot more. I can get in some guash later to bring back some really light areas. But yeah, this is going to do. Again, you know, the big goal here is just trying to get in the lights on the scene. Here I'm going to put in some ultramarine blue, bit of ultramarine blue, because this is all kind of yeah, really dark and cooler. But it mixes in, you can see with a lot of this it mixes in, for sure. So it's not just blue. It's kind of warm colors in there as well. So that's what I mean I mean when I say, you know, it's kind of futile to really paint every little thing in. You've got to look at it as a whole and force yourself to paint in the bigger picture of what's going on. Okay, so that's something there. The water as well here is going to be interesting. I think I think getting in some of that basic sort of water in there would be good just to complete the scene. But let's first get in some colors for this building here to the left. Using a bit of brown, burnt tumba, and burnt sienna. Okay. There we go. Just get that all in and we go. The top part here, this is quite tricky. When you've got a smaller mop brush like this, it just helps. You can paint pretty much anything in the scene with this brush, but you just got to be a bit careful. Yep. Like that. I'll detail it. I'll detail it more later. It's kind of tricky, isn't it? Get in all the little details. I've forgotten to rub off this bit of lead pencil there. Let me get rid of that. Okay, again, just sort of blending to the right hand side. Great. Really just remembering as well to be so careful with this because, you know, the temptation is really to start going in here and painting everything in. Yeah, I need to cut around that building a touch, as well. Okay, let's have a look at these buildings in the background. I'm just going to put in a bit of blue, a bit of ultramarine, color with gray, kind of like a grayish ultramarine blue color. Good. Just something to indicate that there are some buildings in the background. All right. Like that. Great. Great, great. Okay. So going back to this water that I was going to do before. But let's quickly get in this kind of road that you see. Running to the left hand side of the scene. Again, this is going to be a very simplified sort of road. I don't want to take too long with that. Okay. Good ultramarine blue with a bit of this leftover gray again. Let's just drop some of this stuff in here. Another thing that's good to do as well is, you can see some little reflective bits here, just, like, warm bits running downwards. So you can just put a bit of that through and then blend it on the edges with blue like this. And the whole aim of this is just to get in a little bit of that softer feeling, I guess, okay? But all this is probably just going to it's mostly just going to blend, if you look at it, okay? And it's not the final color of the water. We're going to put in some more afterwards, but this is just something to add in that kind of backing blue of the water. So we have some softer areas as well. Okay, let's go to the left hand side, and notice I'm doing this all pretty much wet into wet. So there's not a lot of contrast. There's not a lot of areas that you can distinguish when the water starts and when the actual road or whatever starts. So you're kind of it very loose. Here in the back, let's do the same thing. This water you can see runs around here, and then of course, you might have a bit of that reflection of the building running through here. I don't know, just like the warmth of it anyway. Unfortunately, it's kind of turning a little bit greenish as well because of the blue mixed in there, but it will be okay. Okay, like that. Let's move this up. Now, there's that boat up the top as well, so I just want to leave something to indicate that boat or cut around it. More ultramarine blue, all the way to the back end there. Okay, and keeping in mind, this is not the end of it, as well. It's just enough to get in a bit of the water so that it all combines, looks more cohesive. Okay. Fantastic. Now, I think that kind of does it mostly for this part. The light areas, anyway. And what we can do, what we can start doing now is just get in the sky. So this is pretty easy you're just picking up cerulan blue. Just mix up a good proportion of this. And I really want it to be quite light, pretty much as light as you can get it. I'm going to give the top of the panting a bit of a dry first. The reason why I dried it off first is to make sure that, um I'm gonna need a larger mop brush yet, is to just make sure that the buildings don't run into the sky. So a lot of cerulan blue. I've got a big mop brush. This is gonna help. I should have painted that top part first. Let's just bring this down. Anyway, it's really like about 5% paint, okay? I want to keep this sky as light as possible so that everything else, all the buildings and that just really pop out. Okay? This around the buildings, just be a little more careful. Especially the towers here. Yeah, let's just get this in. It's a very simple wash. I try to mix up the same quantity of paint first, as well. A large proportion of it, so then I don't have to go back and remix it again. Okay? I think also what I might do is add in some clouds. I do think this sky needs to be broken up or touch it. Will look more interesting. I think it will look more interesting with some clouds in there. So let's just firstly get this wash out the way and, you know, same sort of things, just the same color, the same mixture of color, and I'm going to bring this over to the right. Like this good Great, great. Some stray brush hairs, trying to move. Yep. Okay, so I'm going to pick up a bit of purple, maybe a bit of pains gray. Just mix this up together, purple and pains gray. Um, I just drop in something like this, some shapes here. So different purples, but it has to all be done kind of wet into wet like this. I'm trying not to overdo it as well, some quick little indications of clouds in areas. You make the clouds up the top a little bit larger, as well. That's gonna help to indicate the perspective of the scene just a bit more. You know. Good. I think that should be enough. Tempted to go back into it and do more, but, yeah, I think I'll just leave that. That's gonna look good and we'll give it a quick try again. 19. Day 8: Stockholm Second Wash: Alright, so the next step here is really just getting in all the shadows and little details. So I've got a round brush here. I got a couple of round brushes. And we're going to just go through and maybe start thinking start from the left and maybe in the center here just to get in the darker areas. Now, I want to do this all in one go. I don't want to keep going back and ding around and changing it around and stuff like that. So I'm mixing up like a whole bunch of darker paint just purple with brown, maybe a bit of ultramarine blue, as well in here. Good vulture Marine blue. Okay, good. So let's start. I reckon I'm going to start with this building here to the left because I think if I don't get it in, if I don't start off here, it's going to be difficult later since I'm right handed. So testing that out, how does that look dark enough? It more. Means gray maybe in there. Good. It really has to be quite dark, okay? So thinking to myself, as, well, how can I paint this in quickly with a few brushstrokes, the fewest brushstrokes possible. Okay, look just simplify that down the top of the tower. Okay. I'm also trying to leave in as much of the light on the left hand side as possible. So there's little details you can see, just these little kind of bits and pieces sticking up and what have you, as well, which I will, uh, add in there. There's a couple little like, see just a couple of little bits there. Bring that down. Let's just do this. There we have it. Oh, yeah, it kind of goes up a little bit further. There's, like, a couple of the bits and there, as well. Look, simplify it. So that's the side of the building. And on the left hand side, we've also got, of course, a ton of these little the little openings there. They're kind of just like doors, archways that lead into the courtyard, like I was saying before. Near the base, there's, like, a bit of this separation, as well. They're good. Let's have a look here on the right hand sign. Let's just again, continue on and get this large sort of shape in. It's really just a bit of shadow on the right side. And, of course, you've got this building here as well. S I need to get in as well. But, there should be some green here for this tree, a little bit lighter as well. Just put in some of this. This is a bit of yellow ochre running through. Lighten down this tree. It sort of goes all the way here there, maybe. Good. Made it a lot bigger than I needed to, but it doesn't matter. Um, good. Now, here, we've got this kind of darkness that's hitting the left side of the building, and there's, like, a bit of shadow on the roof here. Okay, good. What else do we have? Again, there's, like, bits and pieces in the background. It's almost just like the triangular sort of parts that I painted in before a little something bits and pieces back there. This part of the building kind of has the rooftop in the distance. And then, you know, behind is where you've got some other buildings, bits and pieces. Okay. I'm trying to just get in a bit of a sharper detail here on the left side of the on the left side. So it will come out better. I simplify this down. Some more blue. It's just a bit too much. Bit of blue back in there. Good light. More. You'll find that in a scene, a lot of this stuff in the background just ends up fading into this bluish like color. So you can get away with it and just kind of indicate some of this here and there. I like to leave a bit of white white, but, you know, the previous background wash that was in there in the first place, rooftop as well here kind of should be darker. Let's get that in here and Good. You know, you've kind of got these little windows well. So what I mean when I say just try to paint everything in all at once because it makes it so much more efficient if you can do it this way. Okay. Let's put in some more here. It's another roof or something here as well to the left side. Oops. Sometimes things don't really go 100% your way in terms of the plan. I mean, I was wanting to go a little bit less into the building to the right, but I couldn't quite get it there. So you just make do. Now I'm going to put in this little shadow here to the left side there. But apart from that, I mean, you've really just got a lot of light, like, showing through. Like, if you see here, it's sort of just underneath this whole area. So a little bit of line work just to indicate the edge would be good. Okay, good. And, of course, this area where the boat is just want to indicate that a bit better. But I don't care for too much detail, really. We have to make the water a lot darker afterwards as well. Alright, let's work on this building. So with the building, I'm just going to go a bit of ultramarine and kind of like a grayish ultramarine. The right hand side, here, this is the top of it. It comes down. All right hand side, is just filled with shadow, like here. So you can definitely just go ahead and get most of this in with a single well, not a single, but a few little brush strokes like this. And I'd like to just detail the building a little bit, as well, because this is super important to make it come out, of course. From the, you know, you can see the sort of rooftop and then it pops down like that. And Yep. Sarah, behind. Let's get this all in. Try to do this in one go. Leave the light on these domes, as well. See that left hand side there. There's a little bit of light. So just, um, yeah, sort of cut around it a bit. And just sort of You can see there's like a little little details in there as well. You know, it's downward brush strokes to indicate some of this stuff. Again, like what I was saying, I just try to simplify where possible. There's the windows. Brush stroke here and there will do the trick. The cute. Just get in this church, the right hand side of it behind quickly, join it on while the roof of the building below is still wet. But I just should finish these bits off here. Yeah, some vertical marks for the windows. Okay, so let's get this in here. Let's we've got this top part as well here. Like that. Good. Some details for the window. Yeah. I might just put in a bit of darkness behind the building here as well. Help bring it out more. Okay. Good. Bit of lighter color here now for this building in the background. I'm going to just continue downwards and hopefully get in the rest of this shadow pattern. Okay? More blue mixed with brown, bit of blue and brown mixed together to create a kind of ultramarine blue and brown, just to create a darker value. Okay? I do think, yeah, this needs to be darker. It wasn't quite enough before doesn't we can get that in. Keep switching between this larger round brush. It's tricky to just get this stuff in. Hey, Kate. Leave a bit of, you know, you can leave a bit of yellow in there for that previous wash, as well. Really, some of this stuff, you are just you're flying blind sometimes. I mean, I just make sure that I feel like I've got something that resembles the reference photo, but with a scene like this with so much going on, it's impossible to get in every single building exactly as you want it. Okay. Here we have an interesting part. So this is that side of the building. I really wanted to get in, leave the white there. So let's just leave that. Some buildings back there as well. Good. I don't have to repaint all that stuff in the background. I'm just gonna leave that this down. Building to the right here. You start moving on to these buildings now and you've got a lot of kind of interesting stuff going on. You've got the rooftops, like this. Like that. More blue these rooftops. Then there was this building here that is kind of hitting the light, but I struggle to see what exactly the side of the building looked like. It's very complicated, so we'll leave it like this. Then we can move that down. I've got another building there. This rooftop goes up here, into there. What else do we have yet? Again, another sort of rooftop here runs to the back. Sort of just simplifying things down at the end of the day, okay? Good. Put in a few little a few little marks on the page. Okay. A lot of these buildings, it's just kind of indicating stuff going on in there. It's a tricky side of that building. There's all kinds of trees and things there as well. I'm not going to worry about that just yet. This kind of comes down, though, here. And Yep. It's, like, a lower part there. Then you've got trees and things. And of course, you've got this road that goes all the way in. In fact, a lot of this stuff just kind of connects onto a road running through the center here. I'm going to mix up a bit of purple, a bit of brown, a bit of blue for this part, okay? Like the make this sort of rewet this so that it blends up a touch. It's just dried off too quick for my liking. Okay. Yeah, this whole area is going to kind of be in the light. But, you know, for example, I really think that getting some shadows running here is going to be so important, like a bit of blue, maybe let's just make the shadows blue, running to the right like this. I put some water in here. So it's just made it easier to get in these softer shadows, but it's also going to make it more difficult to get in sharp details. So we'll have to see how it goes, okay? There's a tree here. Look, it's just as you can see, I'm not really bothering with the complexity of detail. It's just a bit Yeah, there we go. That could be a bit of shadow running there. Okay. All right. So look this area near the water there. And the roads just running down the page. Now you see how I'm just kind of, uh, really simplifying this down here. I don't want I don't want there to be excess of, um, it detail. Okay? But shadow running to the right cast by one that bridge, maybe this by the bus and some objects in here, as well, okay? Whatever it is, I just want something in here to bring out the contrast on these buildings because we've just got so many I mean, look at that. There's just so much going on in these buildings. So a bit of darkness is really going to help bring out the lights on the buildings. In some parts anyway. Okay. Having a look at what's going on here in the background. There's a lot of stuff going on here, but I want to reduce the detail down and just add in another layer of color back there. No, of course, eliminating all the light, but just some bits and pieces. I didn't want to, but I might I'm just thinking whether I got to go back into these towers out in the back. I think that should be all right. Let's just leave it like that. Okay, so the roads, let's just get in this indication of the roads. And you've got little cars just running through here as well that I will just leave out a bit of color lighter value, okay? And bits sort of here and there. Of course, you know, here is that other train as well running down the front of the scene. And again, it's that same sort of pattern I'm trying to replicate. Here, kind of like a a bridge, I suppose, like running into the back end. It could do with some more purple. You could do with a bit more, yeah, like running that. At the end of the day, a lot of this stuff here in the foreground is really just quite light or quite dark, actually. I think what I will do next is work on the darkness of the water, and it's really just a lot of blue, maybe some purple in there, okay? There's something definitely over here, for example, there's a lot more darkness, okay? Plant that upwards in there. Just sort of get it in next to that area here. Sort of cut around that part. I was mixing in a bit more the remaining color on the palette so that it doesn't look too like it stands out too much. Okay. Can leave some of that previous wash, if you want, as well. It's a bit late for me. I've gone over most of it. I just wanted to really darken that area here as well. This is interesting because it kind of falls underneath this bridge area, which is very dark. I mean, you probably want to add in a bit of neutral tint or something, just using a dark value underneath that bridge. Behind here, let's just go back into it blue and a bit of purple. Again, just to bring out the bring out the water, the sharpness of the buildings as well. And I'm just taking a bit of care here to cut around this boat that we'd indicated, this ship. It's kind of a bit smaller, maybe like this. Okay? Good. But it needs to be darker. Okay. Sort of look back at everything. It's looking okay. I want to work a bit on some of this stuff now. I'm going to just now, this is just a lot of indicative kind of work, but here at the base, especially, I do think some extra darkness is going to help to bring this all together. All right. So just carry this downwards and just add in a bit of this bluish value Okay. It kind of what I was saying before. I want to just make it pretty dark here at the base. All right. Let's get this a little dry. 20. Day 8: Stockholm Finishing: Really, it's just the finishing touches from this point onwards. I'm going to just try to pick out some real dark areas like here on the edge of the water. You know, you've got these little details as well here and the water to like the indications of these bits and pieces little jetties or what have you where people standing on and people mooring their boats, as well. Okay, let's just get this other part in here as well. I'm just using a small round brush for this. And I think it's really necessary to do a bit of this final detailing work well, it's really what just brings everything together. You know, even there's some verticals here, which, you know, we can imply, but I don't want to put too much emphasis on this as well. Okay? Just have something there a bit more brown in that actually. It's just a bit too much. Yeah, here we go. I don't even know exactly what these are. They're just, you know, parts that we can use to connect up the scene. Okay. There's final touches, really, of this whole area. And you'll be surprised how a little bit of a little bit of this can suddenly just sort of bring together bring together the scene, make it look more realistic. Okay? Those trains again, supposedly just coming in like this. You know, just get those tracks in like that, as well. There's so much on here that there's no point me trying to get in all the details of the tracks, and, you know, we will spend all day, and it will be a an absolute pain. So yeah, but you can see here there are all these I don't know. There's all these details just running across. So just trying to indicate some of this stuff, and again, like, detail, just details, darkness here. It could be something casting a bit of a shadow to the right. I don't know. Just bringing out this area touch. And, of course, because we're in the foreground, it's a little bit tricky. We want to make it darker. But it's just a lot of mess in here, industrial stuff and tracks and things. So yeah. We got another vertical here. Let's just put another vertical there or something, another one here. Good. Little details like the rooftops, maybe, where are the rooftops going to start like here and then go up? Maybe. Sometimes you just lose some detail and this can help bring it back like that. Okay. See where these ones will go kind of up here as well. But Okay. Like this should have some windows on the side of the building there, and the rooftop should be a bit darker as well. So I'm going to just darken that rooftop a bit like that. You know, this building here, here it is. We've lost out on some detail before, but it also has a darker sort of rooftop like that. There, you know, there's some windows, but, of course, we've got that whole um, miscellaneous area here, which us just kind of tree trees an area that I decided to leave in. There's also some little maybe windows on the sides of the buildings. So let's just put in something like that. Yep. Of course, on the ground, maybe some more of these like kind of guiding lines, I guess, on the ground. I know they don't really exist in some parts, but just helps with the overall perspective of the scene. Maybe here as well, outlining the bridge a bit more. Yep. Underneath here, you know, there's actually a lot of darkness. I can just indicate that. Underneath that boat. It's also kind of dark here. Good more windows or implied windows anyway. Sort of put some of them in the background and, you know, through some buildings just to indicate what's going on back there, but I wouldn't overdo it. Maybe on this one here. This could do with some little windows and things here. Yep. Yep, there we go. Yep. Additional darkness areas of darkness around some of these spots to help bring out the light Shape this tree a bit better. A bit of extra darkness on the left side of this building as well, sometimes you'll find, yeah, just places where you right at the end of the scene like now, right at the end of the painting, you just find times where you know you just have to darken something to bring it out further. So I really want to do this for this building here. Okay, in some spots darken, especially right next to the light. You've got this contrast. If you darken there, it's gonna really pop out. There's actually a lot of detail on this building. It's just so much on here, but I will only imply it. Otherwise, we were going to be a bit stressed out. What else do we have on it? Pretty much about it. The water just darken that off a little. This ship is going to benefit from some extra light on it afterwards. We'll put that in later. Some guiding lines running through here as well. To indicate that walkway or what have you. Sort of indicate some shadows running on the right side of these some of the buildings in the far background as well. I missed out on that. But try not to interfere with them too much because in the background, those buildings really need to be lighter. Extra detailing, just a bit of a bit of darkness back onto this main building. You know, in this part of the painting, all you're doing is finding little details that you really want to draw out. Okay. I just wanted to redo that bit that touch as well, extra darkness. You know, even in here, there's just so much that you can still do. Um, like in this in this area where the cars are, the motorway. You know, there's there's bits of darkness running through here as well. You can see just like that. Um, but the cars are sort of, you know, you can see just little bits of them showing through. I don't care much for the detail in there, but certainly a little bit of Sharpness does help. Just soften this bit a little bit. And then some verticals. I'll have to go through some squash and bring out a bit of that detail later on. Okay. Li on the right hand side. Maybe a bit of darkness there. Darkening those rooftops, something here as well. More buildings out in the back. I'm just building detail, a little bit of detail, okay, with again, darkening some rooftops, putting in some windows. At this point, I'm not even really looking at the reference anymore. I'm just painting and putting a few sort of vertical, horizontal lines running across like this and just trying to indicate details. A little clock round a bit there. Sort of some detail there. I just want to darken a bit at the base of this building, as well. So parts to just bring out the buildings and touch separate them from the ground, like that. Good. A bit of blue in here. Just a bit of bluish shadow running through this section in the center. So was going to be good. A lot of this stuff, you know, as you can see, it's just implied detail. It's really not much in there, if you think about it. But it's enough. I do think some little marks on the water, some tiny little marks like this could be good for just indicating some ripples on the water, that kind of thing. I can't really see them. They're so small, some of these ripples, but I don't know, just help to blend a touch, I suppose, so that we don't have the same monolithic color running through the entire thing. All right. Here's the shadow again of this bus. I thought I would just quickly add that in there. Maybe some people or some cars. Okay. Let's just kind of indicate some cars maybe coming through. Okay. I could be be a car. Yeah. Um, really simplified. I don't think I'd get any people in here might look a bit funny, actually. You'd be surprised, what you can imply through just a few seemingly random brushstrokes. You know. But, you know, for example, if I have a shape here, which might be a car, then suddenly you can get a shadow running to the right, which makes the composition maybe look a bit more interesting or not, you know? Something like that. Train here as well, a bit of that bring the light back. Do you see some of these, like, bits of light kitten, some of these rooftops and things as well. So you can just sort of you can just add in a bit of guash on the top of the roof like that. Some areas. You know, you can get a bit running through the buildings, sort of seeing like, you know, underneath the roofs, that kind of thing. What else do we have? This boat here does need to be a lot lighter, and there are some vertical marks as well. These, I can see just these tiny little bits and pieces here. Okay, good. Areas that you might want to highlight, I've put mixed in a bit of yellow with the guash, and I'm going to put in this area where the, you can see it here as well, kind of where the water hits the. The edges of this tree. Great, and I'll call this one finished. 21. Day 9: Iceland Landscape: Okay, let's go ahead and get started here on the drawing. And what I want to do first is just put in the horizon line, and it's kind of just where the grass starts and the mountains end going to touch the ground. So it's about it a little bit below the middle point of the page. So let's just draw a line running across fairly straight. Doesn't have to be perfect, but something like that. Actually kind of goes up and down a little bit to the right hand side. Okay? Now, running through the center, we have got a bunch of, you know, bits and pieces. We've got this kind of body of water that's coming in like this. It's a bit running out there, and then it sort of comes all the way down and disappears off the bottom of the scene here to the left. I took this from a moving vehicle, and, you know, it's actually you can actually do this pretty often. And that way you can sort of photograph little areas that usually are quite difficult to get to by foot passing by. So there we go. We've got this sort of center area where we've got a body of water, we've got the grass and some pebbles and rocks here. And here on the right, of course, you've got some little bit of land that goes up, you know, some smaller shrubs and things here. Okay, there's not many trees in Iceland. You don't come across too many of them. Now, this left hand side is interesting. I want to put in this mountain it's all the way in the distance, but it makes the scene a lot more interesting. We don't have to get it exactly as per the reference, but do you think keeping it similar would be good. It comes down here, that second part of the mountain. Then you've got the edge, this third mountain that just goes up and then it's got some interesting shape on the edges there there. There we have it. And of course, there's a lot of details in the mountains. There's lots of snow, but there's also this kind of brownish rock as well. The light source is coming from the left hand side as well. And you can see here there is a line that bisects the bisects this mountain area in half. There's a bit of darkness on the right hand side, same with this mountain here behind. It's actually casting a little shadow on it. Okay? We're going to have to be a little careful with that one. Okay. But let's go ahead, look what else we've got. I mean, it's pretty basic, I think. That should be enough. We should get started with the drawing now we can get started with the painting. Alrighty. So starting at the top of the scene here, we're going to want to get in nice even wash of cerulian blue. Starting right at the top. I do have some other paints here on the palette. Just got to be a little careful so that it doesn't mix, but it's about 5% paint. It's very light. I always like to start usually a little darker at the top and then fade that downwards. And with these sort of washes, as well, it helps to just angle the page downwards like this and then simply add more water and carry this wash down. Okay? As you move down the page, just add more and more water. All right. Just continually adding more water. Okay. Now, we're getting close to these mountains now, so we've just got to be a bit more mindful that we're cutting around them like this. Okay. More water. Again, just bringing this further down the page. Okay. It's really just almost 100% water by now. Good. Okay, so that's a nice flat, even wash, okay? And I said, you achieve that by sort of angling the paper downwards a bit. It's very light, very light. Now as we move further down here, we're going to repeat this process, but we're going to do the opposite. So I'm going to start with more water here in the background. Um, just make sure I've got a little bit of teeny bit of blue on there. It's a bit tricky to There we go, like, a little bit of tiny, little bit of blue out in the back, okay? And as I move down the page, Okay, through all this are here, I'm going to do the opposite. I'm going to add more paint. Okay, a bit more blue, Cerulean, going all the way to the edges here. Me. But let's just move I want to get this section in first, like that. Good. Let's move this further down here. It's more so as we move all the way down to the bottom like this, we're going to get a more darker blue. It's just cerulean blue, by the way. So there's really not much variation in cerulean blue, even when you mix less water into it. Okay? So this is kind of a part where I like to mix in a bit of other blue. So I've got some I've actually got a bit of purple here, side of the page, little tiny bit of purple. I'm going to mix in a little bit of ultramarine as well and a bit of cerulean, so that we've got this kind of dull down version of the other colors. Let's drop that in. Let's have a look. Yep, that's better. It's almost like a purplish color. Slightly bluish, purplish color. Okay? Feather this in. And it helps when you got this really uh really sort of textured paper like I'm using at the moment. It makes it a lot easier to do this. Don't want any of these white bits to show through. These little bits of white sparkly bits as well. So I'm just taking care more blue. Okay, I've not mixed up enough color, but that should be okay. There we go. Try not to mix too much water in there as well so that it dries faster. Okay there we go. Right. So that's a nice, in my opinion, a nice little wash. And we can go up a little bit, just sort of continue to mix this through. But I think that looks pretty good. Now, over here, there's a bit of reflection of the mountains from above. I'm going to drop in a little bit of this darker value here to just indicate this, okay? That reflection of the mountain there in the background. A little bit of that is just such a small touch, really, all the way towards the back. Now, it really helps out the paper is not completely dried yet, so we can do this fairly easily. Okay. Now, this part of the scene out the back is actually a little bit tiny, little bit lighter, darker, sorry. There's almost like a layer of mountains here or something. I'm just going to drop in a little bit of color here. And this is kind of to indicate these clouds on the horizon line. Can you see that? Just a little sort of section of clouds back there. So quick. And this will go up a little bit, hopefully. But, um, that's all I want to do. I don't want to put too much paint in there. It's going to overdo things. But it's all wet into wet work. So all this stuff is going to dry. Now, let's have a look. What else do we want to do here? Well, we've got you know, we've got all this stuff here on the right and the left, as well, the grassy sort of areas. And of course, we've got these mountains, which I'm going to leave, I think, a lot of the white on there to begin with, to a look. What do we want to do? I think what we can do is start with some browns. So smaller round brush. First, I might also be good to put in a bit of some color here. This hasn't dried yet. Yeah. It's right. It's sort of dried, but we'll make do. So this is just a bit of burnt sienna and a bit of raw umber that I'm mixing up here in the palate. Trying to kind of mimic this sort of browny color here. It's not that dark. It's I don't like that, I guess. Okay. Not bad. Something maybe a bit more brown. And dry off the brush a little bit so I can get in some side brush strokes like this. Okay? Now, this is going to be important to indicate these little areas of snow running through these little striations, you know, super important. And further down here where it hits the here the grass. Okay? Just color in the right hand side. I'm going to have to actually get in some sharper shadows afterwards, but this is just that kind of backing color that we need, that kind of brownish value that we need. Dropping in some a little bit more kind of burnt sienna in there. Let's have a look on this right hand side again. It's the same sort of deal. We've really got some this brownish sort of color. All right. I hope it doesn't spread too much into the sky, but for the most part, it looks mostly dried, so you should be able to work your way to the right here. Okay. There we have it. Sort of edge that um Edge of that mountain. Okay. The rest of this, I'll kind of leave and I'll go back into it a second round. Okay? The bottom, however, we can kind of just darken here. The base. To the left, let's have a look here. We've really got quite a dark contrasting shape there. It's like I mean, it's almost black. We've got some brown and a bit of neutral tint here. Touch of blue, just touch of ultramarine, drop this in here. This is quite a dark shape. Okay, running in from the left hand side. If I get a bit of wet and wet work here, it doesn't matter. I might have to probably redo some of this later, though. Okay, good. There we are a bit of that darker shape to the left. Of course, some of it seems to come into the foreground as well here, the foreground, the background area below the mountains. Okay, great. Now moving on to the next part of the scene, I'm going to mix up some green and a bit of yellow to get a lighter color. Now, also, what I'll do is just use some yellow ochre by itself, and you know, if we look through the scene, it's really just pretty, you've got just tons of yellow running through the entire thing. I'm going to use this brush that's just a little little round brush. All right. I want that to be more transparent there at the back, just shift that a bit. Add more water. If you find that you've got just too much color, just add more water. Okay? So I'm going to bring this all the way up to the horizon line here, okay? Even here. Look at that. There's these shrubs here, but we're going to put in some more color for them afterwards. What I want you to do is just get in this yellowish color here for this grass. Okay. I've not had to dry the paper off at all. It's a pretty hot day today in Melbourne, but if you paint slowly, you're going to be able to get this effect in pretty easily. Got to be patient with it. Okay. I mean, through it's just yellow ochre. Nothing else. Yellow ochre. Great. So inconsistent parts in there as well. No big deal. Let's just drop them in. Um, up the top here, see if I can feather in a bit of green. Just a tiny bit of this green there to the right. Don't want to overdo it, but just something like that. Alright, so the left hand side now, let's grab that same yellow ochre. Now, this has kind of dried off, unfortunately, but it's okay. I was hoping for a bit more blending. Okay, there we have it. Bringing down that yellow ochre. Lots of water in there as well. It's mostly just water, maybe 15% paint. Ten, 15% paint, if anything. Okay. Bring this down. These round brushes, they're great for detailing, but they just don't hold much water at all, so you have to kind of be a little bit more careful. This area, these rocks, they're kind of a more browny color. I've got a bit more substance to them. So I'm just going to add in a touch of darkness here. Um, I'll go back into these in a moment as well, but just, something like that gives you a good starting point. Okay. Gonna start just mixing in a little bit of paint and dropping it in here near the edges. And a smaller round brush is actually going to help much more with this nakae. So I'm just going to drop in a bit of darker neutral tint, okay? Yeah, a little bit of darker neutral tint. It's just on the edges. Okay, of this section. Even at the back here, you can see there's, like, a darker sort of line going out the back. You know, there are little indications. It's almost like, you know, just of the areas here. It really helps. It helps to sort of bring, you know, do it everywhere, but just in some parts, it helps to make it look like it's more three dimensional. Sticking up a bit. Okay, dropping some more in here. This is like another again, some shadows running to the right. Very basic sort of shadows. But a lot of this, I'm just leaving leaving that previous washing. Now around the edges of these as well, you've got the same sort of deal. You've got this thin kind of line almost in the edges. Mix up some of the darker paint and a bit of brown together. Okay? See, just these little sections that seem to come out a bit sharper sections as well. Okay? Great. So really just touch and go. This is really almost an exercise in patience and self restraint because I have this tendency just want to go in and paint everything in. But, you know, at the end of the day, remember, we want to preserve this beautiful wash. So this is just a bit of green mixed up. I'm going to drop in a bit of it here for some indications of some shrubs. These little shrubs here in the distance like that. There's not really much in there, but just something to, you know, just something to add in, you know, across the ground, you might get some little shadowy areas as well, rejig this shadow, this darker section anywhere here. Runs a bit to the right. And bits of green here as well, it does help. These were the areas I'd painted in a bit earlier with wet on wet but redoing it. Okay. Let's work on the mountains a little bit now. So I'm going to put in some blue. Ultramarine let's start with this ultramarine. Doesn't matter exactly what it is, really, but just a cooler value, I guess, would be good. I can even be purple. And what I want to do first is go into the mountain. I'm going to mix up a bit of maybe paints gray as well in there, kind of like a cooler shadowy shape. The right hand side of this mountain, you can see here there's actually a fair bit of darkness running through here, so I'm going to indicate that like that. Bring that down. This, of course, connects here as well. A little bit there. There. Oops, go up a bit too high. Doesn't matter. It's a bit of shadow here as well. I'll get that in in a moment. But for the time being, I can just work on some little, you know, striations or what have you running through the rock, just like this. Turn the brush on the side and then drag it through, and not overthink it as well. But you just need some cooler bits, cooler sections inside this top of the mountain area anyway. So, you know, implying some things here and there. All right. Just kind of looks more like a mountain, I suppose. Okay? Comes out of the sky touch. Yeah, this here has a shadow, yeah. Alright. Let me also go into this part. Kind of just making it come out of the sky a bit. Yeah. Blend this a bit more. Let me go. I just want to strengthen this darkened area here a little bit. So I'll go back into it again with some blue and a little bit of Payne's gray. So it's definitely like a darker sort of shadow like this. You maybe got a bit more running further. Yep. It doesn't have to be perfect, but just, um, I think it's gonna make it look better this way. Just a few like another layer, a darker layer in front. Quite a sharp sort of layer, tempted to just soften part of it here as well. Alright, and we are finished. 22. Day 10: Uppsala Drawing: Okay, let's get started with the drawing for this scene. And this is an area called Uppsala in Sweden. And we're going to go ahead and probably just draw a line just underneath the mid section of the page around here. Okay? This is the area where the houses touch the land, okay? Just underneath the midpoint, and it almost goes upwards down the back there, okay? Ends up a little bit higher here. There's some kind of building there, and I think a few more smaller buildings and trees here as well. So I'm just going to scribble a little bit of that in. Now, the main detail and everything here is really just these houses. The rest of it is going to be a lot easier to paint in. We don't need to draw much. But let's start off with these houses. I'm going to start with this main one here to the left, okay? And you've kind of got this beautiful white sort of side of the building here. And I'm going to go put in the sort of area of the roof. Now, the rooftops, you got to look at it almost as if it's a saddle. They call this I think they call it a saddle roof. I don't know if that's a colloquial term. But yeah, it looks a bit like a saddle, so you kind of got a triangle a bit up the top. And then the second side of the roof sort of come down with a very, very subtle sort of angle, okay? Let's go down out. I've made these a little bit bigger as well. I just want to make these buildings. Yeah, I just want to make them a little bit larger than they are actually in the reference. So get the sides of the building in like this. You can see there's a bit of it that just sticks out as well. But let's just get in the top part of the roof comes in the side down like this. Then you've got this bit that comes out there. I'm just trying to look at this as I guess smaller shapes within shapes, a triangular shape that comes down like this. Then this goes back into here uh, like that. And this is all kind of dark on the side like that. Alright, let's get the bit of the left hand side of the building that sort of comes down there. Yep, good, like this. Maybe a little bit further. Then you've got the back end of the building that just goes up there and then finishes like that coming through the building. Okay. And the whole white area of the building is actually behind this tree there as well. So there's quite a bit of space and in a little bit, closer. There's all these little bit line work you can see there on the sides of the building like that. That's another sort of line. You know, here, you've got like it's just a rectangular sort of window, another window here, another sort of squarish window, another window here. I'm trying to get it just to line up a bit more with that window up the top, but coming down like that. Okay. Okay, now, continuing on with the drawing. We want to get on the right hand side of the house. It's kind of just extends more like this, comes down. And it runs around the side there. Now, there is a kind of white balcony over here as well. You can just sort of see it coming out there, and then there's, like, a bit of white here. So I'll imply that like that. Um, there we are a little something like that. And the upper part of the house, just running across the top. It gets a little bit complicated, but we've got this chimney. It's kind of just a rectangular sort of shape like that comes down, and then behind that chimney, we have got the part of the roof that stretches across there and comes down like this. Okay. Probably actually comes out a little bit more on an angle. You really have to look at the angles of these lines. They tricky. There we go. That looks a little bit better. Okay. Ah, right. And then we've now got the bottom of the house, which sort of comes out like here. Great. Okay. Now, the sides of the houses, you've got these couple this house here you got two windows there, so I'll pop that in, simplify that down a fair bit, as well. Okay. So that's that main main sort of house. Now, there is something here as well. I'm just going to pencil in. It looks like a triangular shaped rooftop here, just sitting behind in that area. So I'm going to put that in. This is just a quick indication, I suppose. Okay. Like that. A lot of it's just covered in there's some shrubs and things out there as well. Now on the right side of this house, we need to get in this other house there, which is, again, triangular top of the roof, then it comes down like this. And you got this other side there. It's really, I mean, this stuff out in the back is not much of a doesn't take too much work to get it in, okay? Simplify this down. The main houses I really want to get in is obviously that one we've drawn in before and then one on the right. I think those are going to be the main areas of interest. Okay? So let's get in this one here. It's kind of like a triangular top starts roughly about here, comes down there. Okay. About here, actually, e maybe there. Comes down like this, like the right hand side. Okay. And it's really just this sort of structure, triangular side of the house. Let's get in the rooftop. Again, there is some kind of you know, some kind of a chimney here as well, which I'm gonna need to put in. Yep, something like that. We have a look, what else do we have? We've got this other part of the house to the right, which is kind of like this interesting triangular, like, shape. Again, there, just looking at this in terms of shapes. Okay. That's the only way you can draw a lot of this stuff, because if you end up getting too bogged down in the details of the house and looking at it as a house, it then becomes impossible to draw other part of the roof coming over here to the right. Good. It doesn't have to be perfect. The proportions don't have to be exact, but I think, you know, do pay attention enough. Okay? There we go. So that's the gist of that house. There's also, you can see window here, window here, there's a couple windows here on the side. I reckon I'll darken some of those as well. Another window there, a door here. Then you've got a door there. Okay. Then on the right, you've got yourself in a kind of maybe a barn or something like that here. Okay. So it's just like the roof exposed, and then there's a couple of other rectangular sort of objects, squash shaped objects here could form part of a fence or something like that, as well. Okay. And you've got all these you know, large trees around, and this is going to be important. We're going to get these in quite sharp once we once the rest of this is done. All right. Good. Now, I'll just quickly indicate here on the front this kind of area like that. Looks like they just harvested something some crops in the middle. I don't know, or just sort of mowed down that area. But there's a lot of grassy sort of area here, and I also want to make sure I maybe get in a large shadow running across the scene somewhere. Yeah, I'm thinking maybe I might get like an indication of just a large dark shadow here. It could be a cloud from above, really the light source is coming from the left, so there's no trees to the right, but it, you know, it could be a cloud if I make it soft enough. You do see some shadows here as well on these shrubs, bits of, you know, longer grass. So yeah, let's go ahead and get started with the painting. 23. Day 10: Uppsala Painting: Okay, so first things first, I want to get in a light wash of cerulean blue in the sky and start off the top here, very light. It's about 5% paint, if anything. I might just darken the top of it a little bit more like this. Okay, a little bit more on the top. And as we move down the page, you know, make sure I got in a bit more contrast, a little bit more color up the top there. We want to just drop in water, okay? So I'm not putting in any more paint. All I'm doing is just adding water. This is going to allow me to get in a nice flat wash. Okay? Just adding water more water as I move down the page. This will lighten slowly lighten this wash until you've almost just got to I wouldn't say the white of the paper, but getting close to that. Now, I'm cutting around these rooftops and the buildings as well. Just a little bit of something like this. You've got to be a bit careful here, but it's not a big deal if you go over them a little. I just want to leave that area of those houses white so that when I go in with some warmer paint, it does show through. Okay, I'm trying to do this fairly quick as well. I didn't want that. That's a bit of green, but yeah, it doesn't matter. There's actually some plants, shrubs and things there anyway. Okay? Sometimes you do get a bit of extra paint that accidentally mixes onto the page. Just continue on. Don't worry too much. Okay. Good. That's a really basic sort of sky wash, okay? Because I've held the paper in a bit of an angle as well. It makes it a lot easier to do this. So for the rooftops, I'm going to be using some burnt sienna. Just like a reddish brown color. This would be perfect for this area of the roof there. I'm going to just start going in here. Hopefully in just one go, we can get this all in really light I mean, it's just mostly mostly water in here, so we don't have to overthink it. Alright? Let's have a look here on the roof, the, um, chimney, bit of something like that. Okay, let's have a look. This right side. Yeah, this whole area can just get in. It will need to be darkened anyhow, so just I'll just get it painted in the same time. The really important thing is to make sure you leave the white. Okay, so don't, don't color everything in this color. Leaving the white below. Getting a tiny bit of color spreading into the sky. But I think we won't actually bother with that. The reason why is afterwards, I'm going to get in some of those trees behind, so they will kind of cover up that brownish color anyway. Okay, let's continue on. We need a smaller brush. This is a bit tricky to do. Keeping it very light, again, just um This is all just a touch of burnt sienna. Okay. Fantastic. There's a little bit of something here as well. A bit of brown, like a shade or something there. Left hand side. Look, you've got also this same sort of color there. But it's actually darker. I just want to put this in so that we've got something some color on that side. It's mainly the right hand side that's important of the building because that's going to be where the light shows through. Okay? I've actually gone down a little bit too far. This area down the bottom should be a more bluish value later, which I'll get in. Okay? It doesn't matter so much. There's more so that right hand side and getting in the rooftop area. Okay. And yeah, like I said, I'm not really so fussed if this goes into the sky a touch. I really like to paint everything at once in terms of joining all the areas together. And sometimes when you pause too much and you dry it off and start again, you lose that beautiful fluidity. So have faith in the process and know that, you know, sometimes those little marks in the background, they might look a bit funny at the moment, but afterwards, we can make them a lot neater, tidy them up. Yep. This should actually this whole chimney I can just get in. A lot of cutting around these white sort of sections they're important to imply to leave out but okay. There's also some this house here, it's kind of like a brownish rooftop, as well. Maybe a bit cooler, but I'll keep it brown. Can you know, I got some purple. Drop that in as well. It's actually pretty dark. But I reckon I'll have to redo this afterwards anyhow to really bring out that contrast. And you've got, like, you know, inside as well, some of these white contrasts which you can leave out to Okay. Good, good. Trees and things I'm gonna get in over the top of all this. I just want to make sure we've got in the right values and everything like that. Um, Now, we have to imply the shadows inside on the actual buildings themselves. So I'm going to be using same round brush, and I'm picking up some ultramarine blue, okay? A bit of ultramarine blue for this one to the left. All, just a bit of ultramarine Blue. Very light wash. It's probably about 10% not even 10%, but, like, 1.1% paint, even. Let's just drop this in here. Hopefully, this is dry. The rest of it should be. There we go. Let me just bring this down. I'm going to have to reassess this as well and just make sure that it's the right strength, okay? But let's drop this in. You can see it sort of goes all the way to the left of the building to the right of the building, here, this is where I really need to make sure I've got a bit more darkness or contrast here. I also want it to run into the I don't really want it to run into that area, but it might do a little, which isn't a huge deal. But let's just get this in. There, then it comes down like that. Okay. Essentially, you've got yourself the shadow on the left side of the building. On the right side, it's all just light hitting the front of the building. That I'm going to need to darken off a touch later. Now, this building here's kind of got a more warmer color running through it. I'm just added a little bit of red into this mix. Okay. Through here. Like that. Fantastic. And what have we gotten here? We've got some Yeah, I reckon I'll go with that kind of more of a bluish value as well inside section. And hopefully this also contrast with this rooftop here like that. A the rooftop and create a bit of this white side of the house, make it sort of pop out a bit more. Here we go. It's a bit of negative painting. And we've got the same sort of deal here. Let's just do that. Sometimes just leave a little white edge there to bring it out more. Um, Yep. Good. Well, let's have a look. What else do we have on the building that we might need to imply? Not really that much. Not really that much at all. I think the rest of it, we can get in with the second wash and some little detail little detailing efforts, okay? I'm gonna get in this rooftop here to the left as well, forgotten about that one. Does need to be pretty dark, too. Just popping out of the Out of the darkness. Oops. Yep. Here we have it. Something really simple in there. There's even some type of, I don't know, like a vertical here. But yeah, what we're going to do now is we are going to start putting in all of these, all of the different shrubs and the trees, pretty much all in one go. So I'm going to give it a quick dry first. Touch of yellow ochre for these indications of these fence areas. There's not much yellow in this scene at the moment. So a touch of that's going to be good. Hopefully that will dry off. Soon. Okay. But let's go ahead and get in all of these trees and things here in the background. I've got some undersea green. Whatever green that you have just use, okay? It's just going to be a darker green that would be preferable. All right. Because we really want to make sure some of these trees pop out. So let's start off over here. I'm going to pick up just that greenish mix, and we're going to go into this area and get that in. You can see the trees. They sort of just cut around the part of the houses as well, okay? Like that. Down here. Well, sort of overlaps like this. You even got a bit of overlap here on this side of this building, which comes down even further. But I don't want to get too carried away Jess yet. I do want to work on this area here behind the house, as well. So we just darken an edge like that. And as you can see, you can just kind of bring out the details, yeah, the little details, I guess, of the houses and things. Without much effort at all. Okay? Try to use fewer brushstrokes, if possible. Um, I might exaggerate this one a little bit, again, just to bring out the details of the house. But this house, anyway, I'm gonna have to make darker, okay? Mm. The rooftop anyway, of this left side of the house. Okay? But here, we're going to get some trees. You know, this one sort of go all the way up like that. And I'm trying to get a bit of the texture of the paper, see? So being very careful with how I do this and just trying to get it in with just one or at least a few little at most a few little brushstrokes. Okay? This is going to create extra contrast. Oops. I've gone into the house too much. Let's not worried about that. There's always going to be times in watercolor where you just, you make a little mistake here and there. You've just got to run with it. Okay. Just continue on. Do the best you can. But this is quite crucial. This whole area is very crucial in order to bring these houses out of this whole area, there, let's, um, maybe bring a bit out here as well. Um, this could just be more branches or something there. I'll simplify that down. Um, yeah, I'm making it look like there's more trees than there actually are back there, okay? But I think this is a good little technique I employ to bring out the rooftops. And you can see it's already starting to work. Yep. A little something back there. What have we got? Oh, these ones here would be kind of good to play around with, as well. This section. There is a larger tree or something behind as well, especially near this area of the roof, we've got a lot of white contrast that's gonna really help to bring it out. Okay. Little branches and things as well, if you think that helps. When you've got a sort of detailed, well, thin brush like this, that has a thin tip, it really makes this a lot easier to do. Okay? And you can see I'm dropping in some darker arts as well in this mix so that it doesn't look like all just one color. Okay. Now as we go over to the right hand side, things are getting darker and darker. You know, I've got the same green. Let's just continue on. And you can see it goes around the house. I'm going to make it pretty dark. Yeah. The cut around this rooftop or whatever, there come up. Blend this in a bit to the left side. That would be good. Yeah, this paper is drying quite fast, actually, so they're just darker green. I mean, really, we should have some bits of that darker green here as well to just contrast. With watercolors, it's so important to have different contrast, different values running through. So it doesn't look all the same and monotonous. Okay. But also we want it to look even don't overdo it. These trees, they're pretty big sort of trees. Check this out. So again, I'm just using that round brush to get in the general shape, the edges of this tree. Okay. Take your time with this around, you know, but I'm scumbling the brush, moving it around in different directions to kind of get a yeah, to get more interesting looking shapes. Okay? Trying to lend this on as well with the this house here you can see there's actually little bits of green and trees in here. I don't want to get rid of that. Yeah, I don't want to get rid of this nice, kind of yellowish value as well running through there. But, you know, we do have to make sure that there is some green behind that as well. Alright. So but a little darkened here, just a little bit on the edges down here as well. It's kind of like what I was saying. You can't have the same value running through the entire thing. You've got to darken off in parts. Okay. Now, there are some, you can see here, some little darker shrubs and things running through the front of the building. You know, it's obscuring some parts of it. Even here, you know, you've got some smaller brush that's going to make this easier. Little shrubs and things. I'm trying to make this as randomized as I can, make it look as randomized and natural as I can, because it is tricky to get this uh get this in. You notice there's like a little bit of warm little bit of shadow running in front of this building here being cast by the fence. So I'm going to just imply that here. Okay? Maybe something like that. Okay. All right. On that right hand side, as well, I do notice there is this kind of distant buildings and things which I will look. I'm just going to imply this with a few little brush strokes, and that's it. Like, it's all just gonna be one big, I don't know, shape or whatever out the back, and I don't want to I don't want to add any more detail, something quick like that, okay? We'll work down the page. I'm gonna This area looks almost a little bit purplish or yeah, kind of, like, warmer. Warmer, purplish. So I'm going to pick up maybe a bit of purple. Yeah, let's pick up a bit of purple. I'm also going to mix it with some brown to just dull it down a bit, okay? So it's kind of let's see how we go, okay? Let's drop that in here. I still fairly light. And hopefully I can get this to blend a little bit with that wash above. Another thing to keep in mind is I think what will be good is if we get a bit of yellowy sort of green here as well. You can see it just sort of runs permeates through parts of the scene like here. It's not just, you know, darker greens. We've got to have some of this stuff here as well. Unfortunately, this has dried off a bit, but, you know, we can trying to bring it down a little bit more like that. Yep, here, you can see it's sort of dried off. But again, I can bring this down and let it blend through a bit because this whole area has not completely dried. It's only partially dried. Good. I might continue on actually down below here. Just bring this greenish sort of wash with some yellows perhaps down to the left. More green like this, bit of yellow ochre perhaps running through here as well. Sometimes I like to drop in a bit of white guash with the yellow ochre to get kind of a sandy sort of value for some of these shrubs. Like that. You can see it's yellow ochre mixed with a bit of white guash. Now, try not to overdo this as well because you can easily make it look very opaque and not nice at all. So let's move this across. I need a larger mop brush. Yeah, there we go. I don't want to add too much color in terms of saturated colors in here. So I'm using a lot of duller values, except for that area there. Okay. Let it let it sort of sit there for a bit. Now, the rest of this area, I can actually get in with that same is that purplish mix that I had before, purple with a bit of brown. It's sort of this color that a bit more purple. And I'm really hoping as well, that some of this stuff will blend with the green above, okay? I don't want it to completely obliterate all that green, but just a little bit of mixing is going to be nice, because there is actually a sharper edge here as well. So let's just do this does help to just hold the Hold the paper a bit as well, so that the wash runs downwards, travels downwards. It almost looks like a lavender field or something, but it's not. Let's get this running through. Because this area has already been, as you can see, it's a bit wet at the bottom, it should just blend nicely because I don't want there to be too many sharp edges in this scene. There is a bit of a sharp edge there, but that's fine that actually looks like how it should in the reference. Okay. All right, so we've got that all travel detail and stuff traveling through now. Let's have a look. What else do we potentially need to do here? Now, one thing I really wanted to do was get in a big shadow running across the bottom part of the scene. Okay? So, before we do that, I think I will try to add in some extra darks, okay? So extra greens. Kat maybe here. Yep, and just make it look like there's a bit of a shadow running to the left, again, for some of these shrubs, maybe a bit here. You know, this is all just wet and wet work and trying to work this through while everything is still impermanent. Alright. Just drop a bit of this stuff in a bit of blue as well, okay? You can sort of see on the on here as well, these little marks, I guess, of where the machines have gone through. So a tiny bit of this would be okay, just to imply Let's continue. I don't have to make this too obvious. 24. Day 10: Uppsala Finishing: Here at the base, this is where I'm thinking of just changing the composition up a little bit and adding in some purple and blue and creating some kind of some kind of shadow here running across the foreground. So something like this, drop that in there and just carry that along. Okay. While it's all still wet, this is a good way to get it in. But I do want also, of course, some of that nice, lovely green that's showing through. So yeah, let's just darken this down a bit. It's just a bit of purple with ultramarine blue mixed into it. And this can kind of just look a bit like maybe some cloud shapes coming in from the right hand side. Just feather it in until you feel it's kind of enough. Okay. I think that's looking pretty good. But now, what we can do as well is start scratching out some small highlights, and all this is basically is just getting in some little indications of this grass. Vertical marks like this running through it's a bit of a trick. And it I guess helps to outline the center of this field as well to make it look more separated from the grassy region here. I'm using a little pocket knife for this. You can use a credit card as well, or a bit of plastic that does the job. Yep. Yeah, there's a bit more here. I'm going to have to wait for that to dry. Um, yeah, I'm gonna have to wait for that area to dry a little bit first. Yep. Yep, continuing on. Just a bit more of this scratching out work. Then again, it really helps to indicate this sort of grassy texture that's difficult to get in, actually, with watercolors. But we can put in a bit of guash afterwards, which I think would be a good idea to really just finish it off. But as you can see, it's quite effective quite effective little technique. Okay, now in the buildings, we're going to just do some quick finishing touches and detailing. So left side of the building here, there's some brownish value that I'm going to pick up. It's just a brown color, really. And I'm going to paint this rooftop in so that it comes through darker here. A Yep. And it's the same thing actually behind except it's not as dark on the top of the roof, so I might just lighten that off a bit. It's still darker than the trees in the background, though. Let's see what we can do. Okay. That's something. A bit more neutral tint added in to just darken this up some more. Um, yeah. So there's these little details you can see in the house like this sort of section of the roof. A little bit of darkness here. And really, this work is quite important to just get in the structure of the building better. But by all means, we don't want to over detail any of this here. So you can see this sort of darker region behind. We just want to get this in quickly. You really just if you think about it, you're just coloring in in a darker value to get in these shadowy areas. You know, you've got this side of the building there, the window. You've got another window here. And I find that often the less you detail it, the more it almost looks like what it should if that even makes sense. But I'm saying, like, the you got to try to get these little bit of line work and things in just one go and kind of accept the outcome. And the good thing with this, as well is that you just don't end up spending all day doing it, which is the most frustrating thing in watercolor. There's, you know, that's a window there. I don't want to bother with it too much. So I'm just putting in some tiny quick little details. There's a window here underneath as well. And here, you know, just a couple of brush strokes should do the trick, as you can see. And this side of the house, this kind of detailing on the side of the house there, as well, behind here, you know, there's some little details for that house, but honestly, there's not much at all. It's almost like it's just a tree there in the background, and then you've got maybe some green area here, but not much at all, something to draw out contrast. But, um, Yep. More brown and what have you here. The rooftops. Oh, these chimneys, yeah, we've got to get in just a bit of the shadow on the left side of the chimney. And in one like that. Let's have a look here, this chimney. Okay, good. Of course, this side of the building here is gonna be a bit darker, this area. Like that. Okay. We've got some windows and things here that are in white, actually. I might be able to put those in with a bit of guash afterwards, just a bit of finishing touch. But I'll put in some of these little windows, here, the darker parts of the windows, the doors as well. Just a few little quick dots. That should be fine. Um, yeah, I could put in more, but I think that should do the trick. I'm going to use some real dark paint now. This is some neutral tint. Just real dark paint to get in. So final little guess, contrasts. Okay. A Maybe extra contrast as well around some of these houses, just a bit of darker value in parts. A bit of green as well, just to get in some shrubs near the edges of the edges of the houses. A bit of darker color for these trees, like running just some darker contrasts, I guess, for some of these trees. Detailing at this last stage of the painting. H. I thought I'd try to just darken off more of this sort of frame area, as you can see, these little frame bits of the building to make it pop out better. Um, Yep. I've forgotten this balcony, unfortunately, I've kind of got in a bit too much. That should just all be something like that in there. Just bringing out the edges of some of the that building, as well. Now, very subtle sort of touch, I think I'll just add in a little bit more of this raw burnt sienna here. The top part of this roof is actually a bit darker than the bottom. Just a little bit darker. Look at the chimney, chimney also. No, it's catching that light, but get a bit of that in there maybe the same with this part as well, it's just the angle that the light's coming in. It's a little bit It's a tiny bit darker on top. Not really an issue with this one here. But thinking I could do with a bit more a little bit more darkness and a bit more reddish sort of color. So let's just add in another layer. Yep, there we go. But yes, a little bit of white guash. I'm going to just tidy some of this stuff up on the houses. So here, I've just lost a bit of that highlight, so I'm gonna bring it back quickly like that. Oops too much, actually. But there we go. Maybe a little tip there. You can just find little areas that you might want to bring back, little bits of light that you might want to bring back. Certainly can see some in that building here on the left. Obviously, it's better to do this, you know, to leave out the white in the first place, but it's always it's not always possible to do this. So this is the next best thing maybe a bit there's a bit of white here as well. I've also noticed maybe, you know, you can see on these windows, there's may bits of white in there as well, so I can just do this like that. You're really just using the gouache to bring out some tiny little highlights. Here and there. I don't want to overdo it as well. In fact I might just go over this again with the darker color. It looks too much. I'm mixing a little bit of yellow into my white guash. And with this, I'm going to just flick in with rigor brush, a bit of this effect here with the lighter grass. Okay. This is just to get back again, a bit of extra contrast in detail all this grass. I don't want to overdo it, though. It can be a mistake if you're not careful because then it will start to kind of overwhelm the entire scene. But, yeah, there's definitely a need for this here, running through this purple, especially yellow and purple are great complimentaries. So this is going to hopefully work out nicely. That was a bit too much here at the base, but it doesn't matter. Let's have some of this running through the purple as well. Just a little bit of these marks and keep them a bit more randomized, as well. Two. I have a few that are kind of longer, you know, here and there. It kind of helps with the whole framing of this scene, as well. Yeah. In the front, you can just do some, like, larger strokes as well. That tends to be the case as you get closer to the scene, just some more marks. And we are finished. 25. Day 11: Iceland Scene Drawing: Okay, let's get started on the drawing. The first thing I want to do is put in the area at the back where the mountains kind of hit the ground. I think that's about just above the middle part of the paper. So around about here, we want to give it a bit of room going across. It does actually go up a little or something like that. Now, let's go ahead and put in the details of these mountains. I know there's one sort of coming up the edge here. Now, we don't have to get this in exactly, but definitely we want to make it resemble what we have here in the reference. So that sort of larger amount to the left just goes all the way down. Like that. And, you know, one thing about these mountains as well is that they're going to be darker than the sky. So we'll have to get the sky in first. That's another kind of bit of mountain that just comes down there. Then there's another sort of smaller mountain there in the background that just goes all the way off. It's actually got more of this sort of shape like that. Then you've got, I guess, some smaller ones here in the front, and they just kind of form a bit of a silhouette like this. There's lots of ridges, bumpiness. Okay. All this is kind of quite distant. So there is, however, a smaller kind of area here that just goes up and it has some light, okay? A lot of this is just to pencil in the general details. We don't want to get in anything extra. We want to wait for the actual watercolors to do that. So everything underneath here is we don't really need to do except for this river, okay? Now we know the river sort of comes in here, just underneath the middle part of the page. Okay, so I'm just going to do it with one kind of hand first, the general structure of the river. It's quite complicated. Actually. There's a lot going on here. Um, I'm not trying to I don't want to I don't want to get in all the details exactly, but just sort of make sure that I have some kind of river running from the left to the right of the scene, Kate. That maybe kind of just goes like this out onto the right hand side of the scene like here. Fantastic. Actually gets quite complicated, really. But, we'll just have to simplify this one down for the sake of, you know, keeping it quite basic. I array some of those little lines in there. Now, we have some little buildings. Now, there is a church, I think, some kind of church building. There's, of course, some shrubs, not shrubs, but they look like shrubs from this distance, but, like, trees here. You know, there is a church somewhere here. Let's just put in the details the rooftop, which is this kind of triangular sort of shape like that comes down. It's kind of white, the side of the building here. Okay, top of the building, you've got this sort of rectangular sort of squarish shape. Then you've got the roof there. Of course, let's get in this side of it like that. There we go. It's just a little side parts really basic sort of building because I don't want to spend too much time on it. And I also want to exaggerate maybe the light hitting the left hand side of the right hand side of the building. I mean, fix that up a little bit. Really got to pay attention to the line work. Okay, that's your church for you. It's a little bit bigger than I anticipated, but it doesn't matter. Okay? Something here and the front. I don't know exactly what that is, but you've got these other buildings here. It's kind of like you got this triangular sort of shape, and then you've got another triangular sort of shape there, and they just sort of overlap almost with each other, as you can see until there's, like, one larger one on the right hand side. But, as you can see, they just kind of line up next to each other. Like this, quite simple sort of row of houses. There's, you know, some trees around, as well. I kinda got this pointy top of them. Alright. And these trees are important because they're going to form the basis of the reflections here in the water, which are actually quite quite obvious. In the foregrounds, there is a kind of walkway here. You can just see just make it up this zigzaggy walkway. You know, you look at that. Sent of coming towards the front and then it just comes out and then it disappears behind these trees here, which I'll have to get in afterwards. If you look very closely, there's also some people just walking around on there, right? That little path then comes out more at the base here. I will just change this around a bit so that it comes up more. Maybe go back down again. That. Good. I think maybe I'll put some trees running through it, as well, just to break it up a touch. Fantastic. We'll probably just add some more water areas in there as well, keep it looking interesting. Right, and we are now ready for the painting. 26. Day 11: Iceland Scene Painting: Alright, so I'm going to start at the very top of the scene and get in a nice wash of cerulean blue. And this is mostly water. It's about 5% paint. I always like to start off a little bit darker up top and then work my way down putting in some extra water. So there we go. I've got the paper tilted, as well. Just drop in water, as you can see here. This paper that I'm using is rough textured paper, so it takes up a great deal of water. Absorbs a lot of water. So I'm just bringing this wash down. Yeah. And, um, I might actually go through the mountains as well, because they're kind of a bluish color anyway. Great. Okay. So I'm going to just continue So I'm just going to add on a little bit of yellowish color now. This is yellow ochre. Drop that in here and continue this wash down the page. Okay. I also got some kind of gray color, but I just want to continue this wash downwards, and back to the cerulean again to create some a little bit of a bluish color, I guess, around some of these bits of bodies of water we see here, this river here. I want it to be pretty much the same color as the sky, maybe a little bit darker. Okay. Maybe a little bit darker. And I can work around that afterwards. That's no big deal. Okay. So more yellow ochre around the top here, moving around these buildings. No. I do want to actually put a little bit of yellow on top of the rooftops of some of these buildings, like maybe these ones here. Okay. That's going to have some light, I guess, reflected into it. Alright. Yeah, I want to change the reference photo up just a little bit so that it looks more you know, so that all those trees are not just the covering all the houses in darkness. You might leave this one white for the time being. We'll see how we go. Okay, cut around. This is just water with a bit of little bit of white, not white, but yellow in there as well. Moving down here, you know, this is kind of interesting. I'm going to cut around this path. I'll probably leave most of it white. Okay, it's just a bit of yellow ochre and perhaps some orange, tiny bit of orange in here as well. Do see you see some of these trees. They've got some nice orange. This was a time I took this photo in autumn. So do you get a lot of this these sort of nice colors, golden orange colors. But I don't want to overwhelm this entire scene, so, you know, I'm actually also using some yellow ochre in here as well. Okay. The path doesn't have to be exact, as you can see. I'm just sort of using it a little bit as a kind of guideline to continue on. Okay, good. Fantastic. And here you can see it's sort of a bit of this orangy color like that. Again, Great. Let's give this a quick dry now. Alright, so let's get started on the second wash. The first thing I want to do is go right into these mountains, and I'm going to pick myself up some ultramarine blue here. Okay? Ultramarine blue. I do have a bit of purple leftover on the palette, which I think I'll use as well. Mix it in so that it doesn't look too sort of vibrant. There are also areas of the mountain that are more brownish. It's kind of like a brownish blue color, but bluish. But if we essentially just use a a cooler value. We should be completely fine. Yeah, I just like to have a few different kind of values mixed up. Okay, so then we can have a bit of a play around with different ones. Okay, so I've got just ultramarine here, and I reckon what I'll do is just go through do that one in the background first. So that's the lightest one. Let's drop that in, okay? Looks pretty light light enough for me anyway. That uh let's move this over to the right hand side. You can't get this in perfectly, but that's going to be close enough. In fact, all the stuff in the closer by where the grass starts is a little bit darker. That area in the backs important to get in first. I just want to be very quick with that. Okay. Now, hopefully this will dry off touch because I want to get in a secondary layer on here as well. No, it doesn't have to be perfect. I'd rather this just go all together as one, then have it look all disjointed. So here is the little mountain, what have you on the left. Okay? It's a little bit darker, so I'm gonna go darker here. But uh, um, I might just do this one here quickly. Bit of real dark sort of paint. This is what I mean. So bits, I would rather it just spread, if it means we can do this faster, like that. Kind of all in one shape might just be easier later. Okay? Now, let's move over to the right hand side. Again, it's that same same sort of cooler value with the round brush. Okay. Notice, I'm not really using much water in here. Just enough. There's not really any excess that's gonna take up too much Okay, great. Let's move a bit further down now. I'm going to mix up some a bit of green, I think, just a bit of green, like a slightly subdued green. And let's just drop this in underneath here. This will slowly kind of just blend through. Okay. But you can see where the mountains roughly start you've sort of left it there for a bit to dry. Okay. There we have it. It's a lot a little bit of wet and wet painting, as you can see here. Okay. Move this wash down, just adding some more water, little bit of extra green. Okay. Through this, there are some sort of darker spots. I'm going to just indicate a few little darker bits just drop in like this. It's just darker green color. Okay. There's also some, you know, yellows and things running through here. So I will also drop in a bit of this yellow ochre, which is great for indicating a lot of this stuff without it looking too stuck on or too To gaudy, I suppose, you can call it. So here is where we end up with the river, okay? Now, we know it comes in, like, about here. We're going to cut around some parts and work my way through here, okay? Just with the same green. Keep this area a little bit wet as well here on the right hand side. So I'm just adding in a bit more water here so that it this bit stays wet. And I'm just increasing the concentration of color a bit as well. Put a bit of dried paint there that came off. Good. That's the river. There's actually. There's one that comes in here. Then there's a second one that sort of comes in here, just underneath. Yeah. It's a lot of cutting around work and a lot of implying what's there. So it's not 100% precise, but you're getting there. These little darker parts as well, like ridges and things there in the background. That's what the darker color is for. You just sort of drop it in and let let it figure it out, sort of melt in and do its thing. I think I'll mix in a bit of yellow into this green as well. Good. Um bring this around here. I really got to be careful not to let this stuff dry off because it's gonna create a funny darker mark, too dark of a mark if I'm not careful. So just keeping that bit wet. Okay, here. Again, I'm just going through it. Bit of brown as well. Okay, I'm not going to be perfect with this, but we'll get close to implying what's happening. Okay. And then we've got that area of the river to the right. Okay. I'm gonna just paint around this little church, as well. And it's important to have a fine tip for this Brush with a fine tip. Okay. Continuing on. Don't want to make this wash too dark as well? Because remember, we've still got to get in some light running along the ground, that kind of thing. So this should dry off still semi you know, you know, fairly light. Let's continue on here. Okay. Good. Bit more orangy color as we get down the bottom, mix with green as well. Okay. Exaggerated that a bit, but I think it looks good. Now, I'm going to be using a smaller round brush and I'm picking up some darker sort of paint. So just a bit of neutral tint. And I'm going to go around some parts here, for example, this area of the river. You know, I'm just going to drop in a bit of darkness here, Kate. This is to kind of help the help it sort of come out more, bank anyway. Kate. But more darkness behind here as well, maybe in there. And that sort of part there as well behind there. This is sort of started to dry off. But as you can see, you can still get in a nice bit of ar furry edge in some parts. Okay. And it looks more interesting this way. It looks more natural, okay? There's actually some there's more land in the middle here and bits and pieces. So I'll just do a quick indication of some of that. Don't want to overdo it, though. You know, just something running through there. You need more of that darker value in some areas. Sort of just helps to outline the detail, you know, of that river. And you also got this path that has a bit of shadow to the left of it. That's the same sort of deal there. It's basically just the light catching on to, you know, the left side of the path. Okay. Bringing it through a touch 27. Day 11: Iceland Scene Finishing: Okay, I'm going to go ahead and put on just work this little area here quickly. It's the mountain that's just a little bit darker coming out behind there. Something small like that. Okay. Cause there should be something in there, plus this area here, which has another layer of sharper sort of mountains in the front, okay? So it's just a bit of blue for me to indicate this. Not much at all. I'll bring this all the way up. It's almost kind of darkening this mountain to the right a bit more. But I'm not really fussed at getting in all the little details. Just something like that's gonna be fine. Alright, so let's put in some of these trees. Now I'm going to be using some dark green and brown hopefully to just sort of get in this You know, you can see here there's a use up the paint on this brush first. I want to swap to a smaller one. But yeah, it's sort of these darker trees, as you can see, just behind the buildings. Okay. The larger ones. A bit of neutral tint in there to darken this off even more. You can barely almost tell the color in these because they're so dark. Um, Yep. But you have to make these pretty dark so that the previous wash, you know, can show through and appear like it's lighter. You know, especially these trees on the right. They just barely see the green in them at all. So I'm using mostly neutral tint here. It's all just darkness and some blue would also be good in this section, I think the base of the building, as well, these buildings, you've just got a bit of maybe, something like that. Oh leave that. I'm thinking if I leave these buildings like that cut around the rooftops of some of them. Okay. And Basically, imply a bit of light. Maybe hitting the roofs. You're gonna get a bit of darkness on the sides of the buildings. So I'm just using ultramarine blue all this. Let's try this out. Yep. Connect that onto the shadow underneath. Just a bit of ultra. That shadow running to the left. Well, maybe a bit of ultra here on the side a bit of the rooftop with, you know, indications of the tree branches and things casting a shadow. Okay. Same deal here with this little building, so gonna get some blue here on the front of it. And on the side, probably just leave it a little bit lighter, but still a cooler color there we go. That's a church. Let's get in some trees and things surrounding. And don't be afraid to also mix in a bit of orange in here as well to just, you know, add some variation. Another tree. It's quite dark sort of in this section, but I also have left in a bit of, you know, light indication of light Anyway. These trees you'll see at the base of them, they'll have a bit of a shadow running towards the left hand side like this. So you just kind of imply that. That's this sort of scene, you just really have to simplify it down and imply what's happening. You can't get everything in, certainly, but you can get a close enough, you know, close enough kind of impression. Just little bits of light peeking through that will be enough. Yeah. In the background. There's some little kind of, you know, sharper bits as well in areas. So I'm just, like, using some dry brush technique to bring out some of that detail, you know. It's also kind of these roads that almost lead out like that. I mean, this is a lot of, you know, just suggestive work. Just some dry brush work really, as you can see, there could be some roads there behind, and there'll be some trees here as well. So I'm just getting a few more trees using the side of the brush to, you know, make it a bit more loose, as you can see. Yep. Good. The reflection in the water, that's pretty important. I'm going to mix up some darker paints, just neutral tint and dry the brush off a bit. Let's try this. Might actually go with a flat brush. Flat brushes are just I find them be a lot easier to get these sort of reflections in the water. Or not. Okay. The reflections are pretty dark, almost completely black. They have some purple in there. Purple will probably be better as well to just get these in. Okay. Just trying to sort of mix these trees up the top. Can you see these sort of these trees there trying to mimic them a bit. Just down with brush strokes, really. Don't think too much of it. Okay, good. That could be like that looked like a path or something just on the edge of river there. Now, same sort of deal. You know, for this stuff here on the left, I'm just going to put in a few indications of trees or whatever there to fill up that space a bit. Of course, there are some darker spots in the background, but mostly it's just a, it's just mostly the same sort of stuff. Okay. Going to have to do add in a little bit of this here in the foreground, as well. Y. Just kind of building up complexity where there's not really much going on in here, if you think about it. I think what we'll do is pick up some of these sort of trees here. We can just drop in a bunch of these with the round brush, just drop in a few sort of tree like shapes here running through in the foreground. Yep, like this. These can then be used to create a bit of a shadow on the ground. And also kind of, they kind of helped to line the path, make it look like this, something there. Okay. Now, back to the gonna grab some sort of purplish sort of paint and blend this on to the tree. Okay? Just kind of make it look like they are casting the shadow, these sort of shadows to the left. Okay, good. Good. It's just a bit of bluish paint. Nothing special. But, um, yeah, maybe a bit of colour on the left side of some of these trees, bit of dark color on the left side of the trees to just give it more more of a presence in some parts. So more darkening on the left side of this path. Yep. Maybe here, as well. Yep. Now, we've got all this stuff here in the foreground. Um sort of thinking what we want to what we kind of want to do for this. I think I will add in a light wash of purple here just over the top of maybe this area so that I can just getting a bit of extra contrast, I guess, to blend this to the left side here where there is a little bit of something, bit of darkness here. Okay. But because of all this nice orange, orange sort of color, I'm just tempted also to make good use of this, okay? I've got more, you know, I've got some more kind of orangy sort of paint here that I can just drop on, of course, leave out a bit of the that previous wash on there as well. But this is just going to kind of bring it out more towards the front. Okay? It's a little bit of squash in there. I didn't mean to put that in there, but I'll have to deal with it. That's fine. It's just a bit of orange. Yep, you might see some of it in the trees as well. You just have to replicate it a bit some parts. Okay. So this stuff here in the background should be pretty much dried already. Just want to re wet that quickly because there was a bit of paint there that shouldn't been there. But yeah, basically, we're going to add on some details with a tiny little round brush. And bring back, yeah, just some of the windows and stuff on these houses. So let's try it first, maybe on here. Okay? It's kind of just a little touch and go exercise. First, on the rooftops, as you can see there, just a little something, then you can put in a little indication of the windows like that. The base, there's a little bit of darkness at the base as well. The separators on each of the, you know, when one house starts and one finishes as well, that kind of helps. Little windows on the side of the house. Okay, it's so quick. I don't need to really do much there. The church is a little more complicated, but we can get this done, the top part of it there, and then the left side and like that. You kind of just drawing, if you think about it with the brush. There. There's a few windows here, one, two, three windows. I didn't do the top of it so well, fortunately, but, um, I try to get it more pointy. Okay. That will do. So really dark values. Yeah, just right at the end. I think this is going to help to just bring out some extra contrast and details and some spots. Okay, near the river there. This is just neutral tint, by the way, nothing nothing too much, you know, these shadows thought I'll redo some of them it Um, but I don't want to overdo it as well. Got to be careful because they all start to look too dark. Good. Bit more detailing on the river bank, just a bit of indication of where it starts like that. Alright. Let's give it a little dry. Okay, a little bit of white guash, activated with some water. Let's see what we can do. Now, over here, I do think that this little, you know, I don't know if it's a road, but there's something here that's like running across the river bank that needs to be indicated like that. There, doesn't have to be a completely straight line as well. You sort of just may do with it. There is also a bridge here. I almost didn't put that in, but there's a little bridge there, something indicated. There is something here as well. It's like a see it just like a little pole. The church could do with a bit of highlights, okay? Bring it back out of touch. These houses, you know, just a little bit of light maybe hitting the top of them. Sides like that. Invent something here as well. Just something there. Path, bring back part of it. Fantastic. And we are finished. So one final thing I like to do once everything's dried is I pick up a bit of bit of water on the brush, and I will actually lift off some paint, and I've got a little tissue bit of tissue paper here. And it's just lifting off on the kind of right hand side and in areas that I want to imply or bring back some light. Okay? It's just water and another brush, okay? Just sort of scrub away, lift off in areas. Um, this really adds a new sort of dimension to your painting. It makes it look I think it makes it look more realistic. It brings back some light, which is what we want. Some of these areas, anyway, You know, it's mainly on the right hand side that it just looks like we want to make it look like there are there's a bit of light just bouncing off here as well. Anything that you think also looks a bit too harsh and needs to be softened, you can do this. Okay. But remember to leave on. Remember to also leave on the previous wash. Like, don't get rid of all of it. The goal here is just to get in a bit of extra light to recover a bit of that light. You could say, there's stuff in here as well that we can just lift off. You know, it looks like a kind of a mass of different colors, but once you, you know, put a bit of water on the right hand side of some of these trees, suddenly, it looks like, you know, you've got a bit of light coming through there, catching onto some of those trees, which is really important. You know. Some parts you kind of just want to leave. There's a bit of light maybe peeking through here. Well, you can even get a bit of light coming through the ground if you do this. Just recovers a bit of that light. You probably need some of that showing through here to indicate that, you know, the house is also a bit of light coming through here. Just to be light coming through here. Really lifting off a bit of that paint. Maybe in the background. Some of this stuff in the background, I do feel needs to be just, again, softened down a little bit. Some of these trees there. They just look a bit too harsh. Um, Yep. Fantastic. I'll call this one finished. 28. Day 12: Stockholm Drawing: Okay, let's go ahead and get started with the drawing. And this reference photo is actually a little bit narrower than the paper that I'm drawing on. So I'm going to actually extend this out a little bit further to the right to accommodate. And we've got the line all the way at the back. If you look at the the line where the buildings in the far background touch the water. That's about a third of the way down the page. So I can measure about a third of the way like that. Okay, very, very roughly and then start drawing that line. Okay? This is really important because it's going to form the basis of everything else that you draw in. Okay? So we've got enough we need enough space down below. And, of course, you know, you've got the buildings and what have you here in the background, which I'm just going to quickly indicate a line like that there, okay? This will need some more work afterwards. We've also got some buildings here. And what I want to do as well is kind of get these buildings to the left in a basic little perspective. Now, you can see if I sort of put my finger there, okay, and then draw a line coming into the page, you should end up around about here. All right? It's kind of like a I wouldn't say it's almost like a one point perspective, but just from a higher vantage point, I suppose, that's the vanishing point, okay? And then you've got the buildings down below, okay? So I think what I'll do is split this in half first, and I'll get in this kind of building here. It looks like it's like a rooftop of quite a nice building, okay, something like that. And I want to try to get rid as much as I can this building right at the bottom, because it just looks I think it just looks a little bit ugly for this scene. So if I could just get rid of that. Okay. It's almost This line is almost vertical. Okay, like that. That's the side of the building, and then you can sort of see it kind of going down. The buildings in construction as well. But of course, you've got this other building here behind it as well. Maybe I'll make it touch smaller like that and I can get in some windows of that building behind there, just indicate that a bit more. Okay? That's the rooftop. Now, when I draw these buildings, I always try to make this very, very, you know, simplified. I don't know, look at all these windows and say, Look, it's just a rectangular sort of shape, draw that in. You know, that's all you need to do. Don't need to torture yourself over getting in every tiny little detail those windows, especially afterwards, you can, you know, you can definitely put some more in with some with some watercolor work, but look what these little structures on the What are they? Look kind of interesting. I don't know what they are. They're kind of a bit tricky to draw on. Kind of like cylindrical design things. I don't know what they are. But let's put that on anyway, okay? Calls so. That's sort of casting a bit of a shadow. Okay, let's continue on. I'm not quite sure what these things are. But, you know, they're just a repeating repeating structure at the end of the day. So I'm not gonna get too bothered about that. Oh, there's, like, a bit that jumps out the edge there like that, kind of like a rounded off edge as well. You can spend all day doing this, really. But, you know, try to try to keep it try to keep it simple. You know, there's even little bits that jut off the side of the building here as well, okay? A bit of detail down below. Okay? This here is the road, and you can see it sort of run all the way from the back, okay? And there's actually some water here, all the way over here. And then in the background. Well, this is the the older buildings down towards the back end. But there's a little bit of water here, and then you've kind of got this highway that runs through the center of the scene here. You got bits that run to the left here. Now you've got another bit that runs to the right there, goes all the way behind. Then there's a kind of a bridge here in the center of the scene like that. Okay. Camera they're going very light with this 'cause I don't want to over exaggerate this yet. But, you know, these buildings here in the background, look, I'm just going to simplify them down. They're just rectangular shapes there, you know, down on the edge of the water. You know, this will be a silhouette, really, at the end of the day or we'll make it maybe a little bit larger than it is. Just a silhouette hanging out in the background. Zoomy zoom in a little bit. Okay. Taller. There are some kind of bits of rooftops that have, you know, little bits of light sunlight on them, as well. You can imply that. Two. Okay. Just something pretty simple like that. Okay? Now, on the right hand side, I just want to get in this road and I know it comes all the way out, maybe finishes here. Okay. Better cut out this bit at the bottom as well. Make some stuff out down the base so it doesn't look like it's all over the joint. Now, there's the bridge and this building kind of starts just underneath here, okay? Gonna try to get in a bit of the rooftop first, like that. And sometimes you need to zoom in a little bit to figure out what is exactly happening. But, um, you know, again, you don't to overdo it as well, so Yep. That can be the front of it. The little detail like that. Okay. Let's have a look. What else do we have going on? Well, it's kind of just runs to the right side like this. Actually goes in a bit like this. You've got the side of the building. Then it runs like this. Yeah. There's even a if you look here, it's like that that then like that. This sort of shade here underneath as well Okay. Sort of checking whether this is tall enough, I think it is because there's water that runs behind it. I don't want it to be too tall. Just leave that blue beautiful sort of blue harbor behind. And there we go. Now, I'm gonna have to extend this building out a little bit further, like I mentioned before. You know, there's definitely some extra details going on in here. So I have a second reference photo, as well, which shows a bit of that other building. Let's go down like that. So just going to start by putting in this side of the building and the area that connects onto the roof, I suppose, like that. And I'm going to get in like a larger kind of element there of another rooftop. The back like that sort of in the background, another one here, another side of the building like that. Okay. I just disappears off here. And, of course, you know, there's gonna be a large shadow that just runs across that side, so it's no big deal. Okay. Of course, there's actually a lot of little details in this building as well. But, um, we can apply that better with some watercolors afterwards, so I don't have to spend all day kind of laboring away at the drawing. Now, in the background here, we've got the Stshuset which is the town hall area. I'm going to make this a little bit larger. Just try to make it more obvious than the back. Okay.'s kind of this sort of area, there, then it goes up, and there's like a triangular bit like that. There we go. There we go. It's something there in the background. Let's have a look. There's also this side of it, the right hand side of it. It's all pretty much it's almost all in darkness. It's very difficult to see exactly what's happening in here, but, you know, that's another sort of part there as well that has a little dome, and then there's a bit running behind it there, you know, and there's actually a museum of some sort, I think that's blocking. That's blocking here. So I wonder if I want to actually put that in. Or if I can just pretend that it's almost not there and just continue on with this other part. Look, I'll put something in here, anyhow. It doesn't matter too much. I know that there's some white sort of flags and there's cars and, like, a road running behind there, as well, so that can be good for getting in some nice shadows behind there, as well. Okay. And let's let's have a look at what else we've got. Now, these buildings are just look they could do with a bit more detailing, obviously, but I'm not 100% faster as long as we've got, you know, the basics in there. Something I don't quite like about this section there, maybe just getting a bit more of this three dimensional look to it like that. Yep. Kind of it's very difficult to see exactly what's happening behind in the shadows. But we can definitely imply that. There's also darkness running through there, so it's easy to get caught up in all of this really, really easy. So, you know, I'm just intentionally trying to simplify it and make it get easier to draw. Okay? You count the little windows, a couple of windows there, and then you've got this sort of bit that sticks out here. Look and then this should kind of be running along like that. Yep. And this is like the little um, shade area. Yep, which will be kind of darker underneath as well here. That's going to be a bit darker. Ah, these little boats. You can just see them kind of in the distance. And I might just use this here, put in a few more boats running along the water. Okay. I have little sails sticking up as well. That really just helps to bring them out, make them look more like boat boats. And there is, I think, another sort of shade here. I'm going to just rejig this one, put this one in as well, like another shade. Here, let's try maybe another one here as well. Okay. I've had to extend this one down just because the page is quite quite large, quite wide compared to the reference I have. So some of it, I'm sort of sort of just winging it. Okay. And I think as long as I can, as long as I can get in a sort of indication that there are, you know, these little details in here, that should be fine. Wuside of that This will cast like a large shadow to the right, as well. Okay. Let's take a quick look back at everything. I think the right side has decent enough details for me to progress through. There are some cars, you know, just kind of indicated by these little boxes here in the background, maybe a little something here as well, these little boxy like shapes, okay? That's going to help to just indicate some of the light, the light effect as well back there. The left hand side needs some work now. So let's have a look. This is less important. Now, I just got to get in this building to the left like that. That's something. Then you've got another side of the building there. It goes in, you know, like that. You know, they're just kind of boxy looking shapes that just overlap with each other. Think of it. Think of it as that and not uh yeah don't worry too much about all the detail in there. But you do want to leave some of these areas here, kind of like with light on them, you know, with some indication of light later. But these are just all kind of, I guess, apartment blocks or hotels. They're not older buildings. These ones are older, but not the ones here in the back end of the scene. You know that just sort of disappears off. And, of course, in the background, this is now where I can just start to solidify this line, make it much more obvious here in the background. Okay. And let's get this sort of silhouette of all these buildings in now. Again, I don't really care about the tiny details, but, you know, see that dome there. There's some buildings that stick up a little bit higher. That's gonna be, I think, gonna make the skyline just a little bit more interesting. Okay. I don't care too much about anything else, some little bits that maybe pop out. You know, you can see here in the background, it's mostly just flat anywhere, something like that. Okay. Now, we've got parts of this road. We really got to get in. Now, this is the footpath on the right hand side that I'm going to put in. And then here, I'm also going to put in an indication of a footpath, okay, where people are walking down below. Of course, you've got these roads that just, like I said, they sort of go off little highway areas that go off to the left and right. Then you've got this kind of bridge running across and underneath the bridge, there's a darker shadow. Probably put that back there, actually. It's a little bit too far down. Don't be afraid to erase stuff at times if you need to. Yeah, I put this down a little bit too far. I want it just underneath. Just want it underneath this area here where the highway disappears off. So the highway comes in at the back, and you've got a bit that goes to the right, and you've got this bit there, and then you've got this sort of section here that just scoots off scoots off to the left like that. And a bit of darkness and details there. But it's kind of just right underneath here. That's where it should be. This bridge. Okay. There we are. That's the bridge. And then some shadow underneath that bridge like that, which I'll just quickly indicate. When you're drawing this type of stuff as well, you want to use your arm to draw going to make it easier. Um, it's part of the section of that building. Alright, so now let's get in, like, some indications of the road. So there's a kind of a line maybe bisecting. There's this kind of island in the middle. Traffic island, it's not quite perfect. It sort of runs like that. There's trees. You know, you can sort of put in a tree or something like that here. Yep. And then we have these cars. So there's also people in there. Let's pick out a few. There's a bunch here, just the top of the car. It's just looking downwards, so you've kind of got this rooftop, and then you've got the windscreen, and then you've got the bottom part of the car there, maybe a bit of the side of the car that you can see, like that. And then you've got shadow that runs in front of the car. So that's something. Let's try another one here. This cars kind of going into the scene like that, okay? Doesn't need much at all, just an indication of it being there. Okay. Underneath, it's going to be darkness and this sort of shadow, again, running towards the back. As you draw cars that are closer to you as well, you basically just need to create some extra extra details and make them larger. Okay? There's even some people there. There's tiny little people which we're going to have to put in to run to the back there like that. They're just sort of walking around below, just kind of make a really small Okay. And as you move to the back, they become even more difficult to see. Alright. This is probably something I'll do later on with the brush. But yeah, closer by, you can actually just indicate more. This one is too large still. You need to make them tiny. Like that. The cars are going to be just most important, I think. I need to put in a few more a few more of them. The ones like touch closer maybe, like that. You know, it look just a little something may we go. This could be like another car that's just like behind it, maybe. Uh, or not. Just leave it like this. There's all this stuff down here as well that's kind of confusing, but I want to just make sure I get in the shadow of this building. It's not 100%, like, straight, but it does come down like this. And keep in mind, can change the shadow, you know, if we want to. But it's if you change your shadow, you also have to change the shadow of all the other you know, cars and things. So you can see the shadows running all in one direction. Okay. So we have to, it has to make sense. This area is going to be kind of under darkness. I will make this light effect on the rooftop also more obvious once we get down to once we get down to it. So building here also behind. I'll get that in there. There's so much in here that you're almost just scribbling around at times. So more cars. Let's put another one in maybe here close to the front. It's the rooftop side of it. Think of them as little boxes. It's all you kind of want to draw in, like, these little boxy shapes, okay? And then the shadow in front of it. Um, kind of thinking to put in some other ones that are just closer like this. You know, in the reference, you see there's some others that are just almost next to each other like that. That's going to look more interesting than almost just piled up next to each other like this for some of them, and then you might have another car that's just, you know, going in to the scene and like the back end of the car like that, okay? And they get smaller. So just make sure you're always implying that as you go further down into the scene, um, On top of this bridge as well, it's going to help if we make it look like there's some cars here. This is like a van or something, some sort of van, couple of wheels. That's all I need in there, maybe another one here as well. Another one just in front there, that sort of location. Smaller ones here, maybe disappearing off. Yeah, this is tricky because you kind of at some stage, you're just implying what's happening and you can't see so well exactly what is going on. But you've essentially just got these sort of boxy looking shapes, and they have to suffice. They have to suffice. Okay? Great. I might put another one here just to sort of, you know, down here maybe join up with this shadow, the touch. Maybe a little larger as well because it's near the front. Yeah that's another one sort of here maybe kind of in the dark. Here. In that same shadow pattern as you see on the Oops. It's more like this, isn't it you see coming off this building, but this shadow is gonna need to be pretty dark as well. Any more cars? Any more cars? Maybe one more here, rooftop of a car, and then the back end of it like that. It's the windscreen on the front of it, you know, there we go just a bit of shadow there as well. I think it definitely helps just give the scene a bit more life, even these people just sort of standing around, as well, this is going to be interesting for later. Of course, um, you know, how much we put in there depends. Now, you can see these trees. I'm just making these circular shapes to kind of indicate the tops of those trees. Like there, I'm just going to do that here as well. Okay. There's more than I've actually than there's actually there, but just to indicate it. Okay? We looking at this, if there's anything else I want to put in here to really finish off this drawing. I think I think this looks good enough. We can get started on the painting now. 29. Day 12: Stockholm First Wash: Okay, so we're going to get started with the painting. And the first thing I want to do is get in a really light wash for the sky. I'm going to be using cerulean blue here, all the way up the top, as you can see, and might actually go a little bit darker straight up the top like this. This is just going to allow me to make it fade downwards into a slightly darker value. Now, this lighter value, I mean, so this is a large mop brush that I'm using, okay? It's pretty much the largest mop brush I have, and it picks up a lot of paint, which is going to be crucial if I want to get in a nice smooth wash. So as I move down the page, I'm just going to drop in some water, just a little bit of water like that, and then continue on continuing to drop in water, okay? So it sort of just goes lighter as we move down the page. Um, we can go over pretty much the entire back end of the buildings and stuff because they're all a little bit bluish anyway. But I'd want to leave Oh, yeah, I just want to leave a bit of something here on the left side of this building, this tower, because this is actually it's more like a warmer color. Okay? But I can cut around it. That's fine. Right sides not a big deal. Okay. And little inside there, as well, it's kind of a lot of warmer value. So I don't want to go too far down sort of roundabout here to where that harbor is in the back. Okay? That's kind of about all I want to do. Let's have a look down this sort of section. There are some buildings that have some warmth in there, too. But this area here, I want to just darken. Now, this is actually darker than the sky. So I'm going to just get that brushwork in and also see if I can get in a bit of it's difficult, but I was trying to get in a bit of white of the paper here and there. In a little bit of it, but that was, unfortunately, we managed to get that. Sometimes, if you go fast enough, you're able to imply that. I'm going to cut around these little boats and things in here, as well. Let's just go all the way to the right side, like that. Yeah, look, as long as it's a little bit darker than the sky, you're fine. There we go. Good. Now, oh, there's a little bit of maybe blue here as well. I got a lot darker blue because this is a bit of the water that goes under the bridge. So yeah, just go to darken that a touch. We can bring back a bit of that light later with some guash and white guash. Okay. Good. So we've got in some of that water. Now, what we want to do is start putting in the warmth of the buildings and the ground, that kind of thing, and trying really not to overthink this here, because it's tricky not too often, you look at all the colors and the complexity of what's happening in there and you want to replicate that. But at the end of the day, we've just got warm values. So this is a bit of yellow ochre. I've also got some burnt sienna. Can drop that in for some of these buildings here, even a little bit out the back there as well so that it's not all the same value, you know, a little bit up here, here. It doesn't matter because we're going to change that up anyhow afterwards, but this is just a quick little backing wash for this whole area. More yellow, I think, just down on the left hand side, there's just I want to imply this sunlight that's hitting the buildings, okay? Brushes drop in a few little hairs, but that doesn't matter. Okay, come down. Here. Okay. We can almost quite safely use just a few warmer values. This is burnt sienna to get this in, but I don't want to use two sort of vibrant colors. So this road there, I'm going to actually mix in a bit of gray. Got some pains gray here. I'll mix in with the yellow. Dull it down a little bit. You can also mix purple in with your yellow to just dull it down, too. So it becomes a bit of a grayish color, as you can see, like that. Probably a little too dark, actually. Let me just lift off some of that paint. It's way too dark. I want to make sure that it's, you know, it's almost just it's almost all just paint, and most of it is just, sorry, most of it is just water, and the rest of it is maybe five or so percent paint. Okay? So yeah, just got to dilute down that gray a bit more here. It's kind of like a grayish yellow. There, for the road, don't be afraid to leave out bits of white and things as well. Good. Okay. Now, all these buildings, actually, they're going to be dark in the front end anyhow. But on the rooftops, you do have some yellowish values, so I don't know, not 100% yellow, but it's sort of like a warmer color. So I will put in some of this here to imply that. Even if you put too much, it's not a big deal because you can always remove it afterwards. Building here in the back the studs whose just gonna get in a bit of that warmer value. That's important to imply what it is, it is, more of this, you know, warmth to the right hand side as well. Blend that in better. Okay. You're almost just trying to get in this effect of this warm kind of color on the rooftops. And then, you know, afterwards, you actually put in the rest of the details. But yeah, I'm actually going to start just thinking, what can I use? What color can I use for this? I reckon I'll just use a bit of yellow for the sides as well, you know? Because I think we're just going to make them bluish, kind of a bluish color. And I'll go over that. With maybe purple, actually, purple and yellow work well together because they're complimentary colors. And when you mix them together, you also get a more dull version of whatever resulting color that is. It's kind of like a gray, I suppose. Whereas, if you start mixing blue in here, it might turn green. But with yellow ochre, it tends to be fine. You don't get too much of that issue. I'll cut around these cards as well, again, just because I want to. Yeah, I just want to make it look more you know, create a bit of light, effective light on the rooftops of some of those cars. C, of course, go back in with some guash, but, you know, you've also got to be careful because it might ruin the beautiful kind of contrast. Doesn't look as natural, but I tend to use guash anyway at the end. Let's go in there. Again, this is all really light color. It's pretty much like 95% water. The rest of it is a little bit of paint. The large mop brush really helps as well, covering a larger area. Okay. So we've got the entire painting covered now. So I think what we'll do is leave this to dry and we'll come back to it in just a moment. Okay, let's get started on the next wash. And I'm going to be using a large round brush and also a larger, well, not a large, but maybe a medium sized mop brush. So kind of thinking which area do I want to start in first. I'm thinking out the back might actually be the easiest place to begin with. What should I use? Maybe the mop. I'm thinking the mop brush might be good. I just want to get in a very light silhouette of what's going on. So we'll be using some ultramarine blue. Plus, I also have some leftover kind of purples, which are going to be great. Kind of like dull sort of purples back there. Okay, more of that blue and lots of water as well. Let's give this a shot, okay? Now, we want this area in the back to be pretty light, okay? Not too dark, just so that we preserve the skyline, you know, get an indication of what's happening out the back there, but at the same time, it's not gonna overwhelm the rest of the scene, okay? You can just leave out some halor underneath as well. You know, these buildings also have like you can see just a bit of light sometimes they hit the top of them, so I'm just going to leave that out. If I can just do this quickly and get it out of the way because the more you sort of spend out there as well, the more tempted you are to actually detail and make start looking like like actual buildings and things. All you want is just a quick silhouette, okay, because otherwise you're going to get too bogged down and all that stuff with just one little transparent sort of line out the back there to indicate the edges of the buildings. And also, using the tip of the brush, cut around this building so that it doesn't go into the light Okay, there are some little buildings and things here in the background, but it's quite difficult to see. You can go over it in another wash afterwards as well to bring out some details of the buildings, but I really don't think that's necessary. Okay. Okay. There we go. A little skyline out the back. Now, I'm going to move my way down the page and darken this wash a touch. More blue, more purple here. I actually grab the another round brush out 'cause it's got some more It's just got a bit more umph to it here. Good. I could, you know, overdo this if I'm not careful. I'm just trying to be mindful of this area. It's darker, a little bit darker down the base, so just added in a little bit more neutral tint. And what else do we have? We also got this like drive of the brush, like kind of this edge here, it then turns into, like, a area there like the edge of this island. Now, put in a bit of darkness at the base as well and drop in some extra darkness in some areas of the buildings. So this is going to just give it a bit more, give it a bit more life and variation because at the moment, I think it just looks a little bit boring and not convincing enough for those even for a silhouette of buildings, something like that, create some inconsistencies back there. Okay, so coming down now, we've got this road, just not road, but this highway that runs over, and then it goes sort of well, we've got some water here first. And then we basically got this highway that runs to the left, okay? So I'm just going to get that in. And then we've also got this highway that runs to the right like that. And then some little indications like this. Okay? So really keeping this, you know, pretty simplified. We'll move down the page, and remember to sort of leave off. See the top of these buildings. They do have a little bit of light on the top of them. So I'm just trying to indicate some of this stuff, okay, which may or may not be there, but this is I think it's important parts just to preserve some of that yellow wash. Okay? That's a building, as well, that's got, like, some something here. Oops. I've gone over too much of it doesn't matter. At that. Let's see. What else do we have? It's getting to the point where here. Yep, it's just a darker value. It doesn't matter exactly what color it is though I'm using purples, some brown and purple mixed together. That tends to be a really nice color for some of the stuff, these shadows and things. I'm just going to simplify that one. Especially here on this side, I don't want there to be too much detail and contrast that will drag the viewer away from the rest of the scene, okay? But you can see, there are some little highlights in there. Okay. This top of the building has got some highlights on it as well. See, you can see the top of it there. So I'm just going to leave that come down like that, get that side of the building in there. Of course, you've still got this these sort of buildings here that have a bit of darkness there, just behind like that. And what else here, there's, like, also another part of that building in front like this. So it's tricky, isn't it? And you kind of like bit of perspective work, really. These kind of balconies or something walkways on top of these buildings, they just need to have some quick indication like this. Okay. Good. And you've got little details on the building, as well. You can see just tiny little something that down. This here these little, I don't know what they are, but just parts of this parts of that building that sort of stick out a bit, but they do cast a shadow, as you see. So that's what I'm trying to imply. Now, there's little shadow sections here as well like that, sort of hitting the light. And then behind it, it's all just pretty much dark. I prick some blue bit of brown to just mix this blue and brown together to get in a nice darker wash. It's kind of hot day today, so it's the paint is drying a lot faster than I would like it, too. Just get the mop brush. This is easier. This is why I love using mop brushes sometimes the paint. You just it saves you so much time. Okay. That's the side of the building. And, of course, we've got this other part of the building here in the front, which is like a secondary building, which we will just imply like this and then get in some darker details inside. I don't I'm not interested in making it look super detailed or anything like that, an indication that there's another building there. Okay? We can get in some of the actual details of the windows and stuff like that later. More here on the side, yet, bring that up a bit, actually, so it looks more consistent. Good. Okay. So I'm going to do the same thing here, but just bring this through the center here. I mean, this other part of the road. I think we can safely start putting in some shadow areas underneath. Plus, I will outline this area of the road, this highway that sort of runs over the top of the scene there. And then you've got a darker sort of shadow underneath here, so just something like that. Simplify that down. That's. Okay. Good. It's actually pretty dark some of these regions inside here, but I'm going to just imply some shapes and who knows what? It's very difficult to see exactly, and you're going to be really stressing yourself out if you try to get this all in exactly. You just want to make sure there's a bit of a shadow there, I suppose. When I'm finished that, I'll go through and actually detail this road a bit more. Now here, I forgotten this building here in the background. I just need to imply this with a smaller brush. Left it out because I think it's it's just a better idea to do this now once the sort of other sections around it have slightly started to dry. That way, I can get this in a bit more detail and make it look like it's coming through the front, as well. Having a look at that. Good for me to blend it as well, just a bit with some of this other stuff. Some little darker parts there just to make sure this is looking like it's in front it should be a little darker than what we have in the background. Okay? All right. That's looking decent. Let's start working on these other buildings now. The right hand side, we've got to really get in, really got to get in a nice sort of wash running on these buildings. So 30. Day 12: Stockholm Second Wash: Ultramarine blue. Also got that same old purple, ultramarine blue, purple, bit of brown, as well. I got brown ochre. Actually, brown ochre is a good kind of color to use mixed with ultramarine to get a very kind of subdued there we go, subdued sort of cooler color. So let's do this. Okay? So you're coming across like that. I might sort of imply maybe some light on the side of the building just catching. I want to make this a little darker than the reference photo as well, I don't know, to, I guess, bring it out more. But let's see how we go. There's tons of water in here like that. Um, you know, this whole shade, I'm just very tempted to, like, try to leave some of it and maybe get in a bit of shadow like that, but leave a bit of the top just showing through like that. So then, um, it just looks perhaps a bit better, more interesting. Okay. Uh, the same thing for this one, actually on the right hand side. And yet, this sort of shadow goes all across the top, like that. Maybe it catches a bit of the light there, but for the most part, you know, you've just got that darkness running across the right of the scene. Okay. Maybe more blue, just a touch more cooler value. I like to just grab out when you're doing the shadows, leave some other values on the palette as well so you can just grab them out like this. Same sort of deal here. I think I'll just again create this effect where it looks like it's catching a bit of light on the roof. Not the roof, but the little what I mean? Little shade cloth. The You don't have to color in all the buildings as well. You can just leave some parts of it uncolord. This needs to be sort of blended in here, this top part of the roof. Gotten about that. Mm have a look. What else do we have? There's actually tiny there's tiny little details on this roof. Mm. That This little chimney or what have you. What sort of run down just make some of this run down like that. I also might be good to just indicate some parts of the roof, like this line work. Can you see what I'm doing? Just a little bit of line work to indicate, like the directionality of the rooftop, and I'm doing this while the paint is still wet, so it doesn't look too obvious. Goes through sort of works with what we've got on there. Bit of the rooftop here is also a bit complex. There's so much going on in there. Let's get in like a light brushstroke here. Again, I'm going to have to just make some of this stuff up, leaving a bit of light there like that. Again, there's some bits and pieces on the rooftop that they're casting some little shadows that we can imply something behind here, another object. Mm. More purple and a bit of that brown there. Again, just to exaggerate this effect of light on the roof for the building in the front anyhow. Okay. It really helps these sort of darker objects that appear in the background. They will give the scene more, extra detail, make it pop out what we want. Okay. It's started to dry off, so I got to be careful here. Mm. Yeah, let's do the same thing here like this effect. Some of this stuff I'm just making up here as well, I don't really have a proper reference for any of that. But that can be part of the building. Okay. Let that dry off to do its thing for a moment. Up on the back end of the scene. I want to add in details here. This is going to be kind of more brownish the right side. So test that good. I want it to be darker on the right side. Hold and brush so far down so that I can do this with more accuracy. Moment it starts to look good, I just let's just continue downwards. Let's not fiddle around with the top bit any longer. I'm known to overwork things. I'm not careful. Okay, good. Now, underneath, we've got some, you know, details like this, and then to the right hand side, there's this part of the building, as well. It's just becomes more let's have a look. This tower a little bit too tall, so I'm just going to try and get rid of it. Do this. Really just, you know, the aim here is I'm trying to blend it on a little bit with the restless scene down below. So, you know, this is the I think it's a museum, some sort of exhibition center to the right. Doesn't need to really look like what's in that photo, but yeah. I think just darken off a touch here and there. Really there's actually a road running behind in that section. So just leave that in to leave that in there. Good. Sort of look at all these cars here. Yeah, I will actually put in some green for the these trees, just a little little bit of green like that to just see up the, like a bird's eye view of these trees. Yeah, just trying to make them a bit messier so that we don't have most, um, obvious looking details. Okay. I want to get in this shadow. Let's get in this shadow of the building, and it's going to be darker than the rest of the building. So I'm going to mix myself up really let's go with purple and a bit of that brown again, dark brown and purple and make a really great shadow color. I know that it sort of starts about here and goes all the way down. So yeah, if it blends into the building a bit, I really don't mind. In fact, I kind of prefer that it does that, um, okay? And if the shadow is not exactly perfect, as you can see, sort of, you know, it should be connected onto the building. And remember, we can always bring out parts of the building afterwards, too. So That's that car. Good. A bit more brown in this. Okay. A little rigor brush that I'm going to pick up now, and this is to just put in some little marks on the road, I suppose, to indicate details. We desperately need some of this in to give it a bit more definition and a bit more interest more round brush, I'm just going to pick up some darker paint and go in the shadow, get the shadow in. Let's try to also do this quickly. Not too much fiddling around. Shadows. You just need to sort of follow the follow that one a bit as well, the direction of that shadow. These little shadows bring out the detail, the light of the scene. So, you know, even just a little bit of darkness underneath that car like that really helps. That was a car as well here. I think I forgot almost missed it out. Little people, you know, just maybe get in a few of them They also have shadows too, something like that. Oops. Oh, it's on the harbor and tiny detailing efforts to put them in. Of course, these little cars off in the distance as well, you can just, uh try to indicate some details like the shadows underneath them. Well, I mean, I'm putting some in there that don't even look like they're there at all, but I can just, you know, can wing it make it look like there's something there. Two. Of course, in the cars themselves, it would be helpful to just create a bit of shadow on the back end like that where you essentially get the bit of the softer light once that previous shadow has dried so that it doesn't all just run together. It's kind of on the left hand side of the car, the shadow, left hand side and the back like that. Doesn't require that much effort. Just enough. You wouldn't want to leave some of them white. Why not? Um, Yep. Cars just, again, they're just a simplified indication of them, making some look like they're going all the way back there, as well. Um, yeah. These sort of shapes actually help to bring the scene together, tie it together. So it doesn't look too disjointed, you know? I'll put something here as well, the more perspective lines in areas. Some parts. Yep. Dry brush. Can be intimidating, but, like, important as well. Okay. I'm getting closer. So with this smaller round brush now, I'm going to pick up really dark values. This is just basically a bit of neutral tint. And I'm going to go through and indicate some of these windows and things. So dry off the brush a little bit. Now we can go it's one couple little windows here. Don't be careful with this, as well. I'm tempted to just really go to put in so much detail in here, but you can you can overdo it. So don't just be careful. This area here, the rooftop is darker, so I need to indicate that. And running towards the right. Gear. So little shadow areas there on the rooftop that I've not been able to imply super well. Okay, sort of, you know, little windows on the sides of the buildings. Sometimes a little rigor brush will be better for this. It rig a brush. Especially some of these fine lines that move down the edges of the buildings like that. Yep. This whole sort of section here that should be a little darker underneath the building there. That maybe like a bit of this vertical line work. Okay. 31. Day 12: Stockholm Finishing: Okay. I just scrabbing out that smaller round brush again and go to continue on. With this, go over here a little bit too much. I'm going to lift off this bit of paint. Let me go over the tissue. Again, this is just a really dark value to really just bring out some final finishing touches. I can zoom into the reference and also have a quick look at what's the extra detail in here as well. I can really bring out some tiny bits of additional information. I want to kind of make these some darkness behind the building, as well to help bring out the light on top. Also forgotten some of this stuff here, this detailing top of that building. Again, just small bits and pieces and extra darkness and things down the bottom of the buildings that you see, kind of like for the shops and, you know, you can even have people walking down there as well. Let's put in some more of these windows. Bit of detail. Bit of detailing back here. This kind of structure here. I'm just going to put some verticals on it. But m. So more windows here, so just simplify this down again. Don't want it to, yeah, take up too much real estate. Just sort of finding some areas where there's darker contrast, I suppose. That's really what you're trying to do in this last step of the scene. You're not You're not trying to find things that, you know, you're just trying to add in detail for the sake of it, but it's really to add on to the already existing shadows in detail. You know, you can see here the shadows of these trees. I think that would be important for me to just put in or indicate so that the trees look a bit more, you know, more realistic. You know, they will have shadows running underneath them like this. Put on a little few of these, like, darker spots running through. They could be windows. They could be anything, really, but just some more contrasting bits and pieces. So more detailing for these roads out the back as well. Did say I was going to continue on with a bit of little detailing work with them. Uh, just nearly edges. You might get a bit of extra darkness kind of here. So just a little round brush for this. When it dries, it shouldn't look too obvious. Now, what will be good is also maybe some indications of windows and things like tiny little windows might appear through there in the background. You know, just simplify them down, touch and dab it off a touch as well. Some areas you might think, Oh, that just could just be darker, drop in a bit of paint. You know, that little bit here, for example, maybe a bit here. You want to create some little contrasts in areas so that it doesn't look all the same. Even this area in the front, just keep going over it again and again because I don't feel it's dark enough just yet. Okay? Dark and neutral tint, really, dropping that in. That's the thing with this paint. It does dry lighter a lot of the time. So you often misunderestimate the section and then have to go back into it again to repaint it, which is fine. It person bit more a few more people maybe standing around here and there. Maybe some person could be here. Little people the dark It's tricky to draw them in smaller. The add an extra bit of darkness underneath the cars as well. More a little detailing on this building. I've done a lot of detailing on it, but just rejigging out of Okay. I will put in some white wash to finish this off. O. Got a little round brush, clean off, pick up some white gosh, activate it with some water, some clean water, and you can see some sort of parts that I might want to bring back, I don't know, some tiny highlights areas that could work. Um the people, the little figures like a bit of light on the shoulders, for example, the back of these cars could do a bit of, you know, this one here. That one looks fine, actually. I don't think I should touch that, but it's a bit late. It doesn't matter. Maybe here. Sort of these people walking down below, can sort of get a bit of something here like that. Of course, these boats out in the harbor the uh little sales. I try not to overdo this, but a few more is not gonna hurt. No, I just know, it's a bit much. But I did say that I'm trying to bring back some of this sparkle here. Look at that, just a bit of that sparkle from the sky. All I'm doing is just using the side of the brush to bring that back. And you got a bit here as well. Like this side of the brush, it just yeah catches the rough of the paper. Little bits of laguase lighter colored guash in there. Maybe you can put in a bit of yellow just so that it looks nicer. Like a rooftop or something that you can just paint in like that. Here in the distance, you know, there are some little who knows? It's something in there as well, what else can we do? There's a flag here. I might shift the flag just over this side so that, um Yep, shift the flag here. Let's just think it looks better so that it doesn't block. And see, do we have any more high light high lighted areas quite think that looks pretty pretty decent, but, you know, sometimes you get a bit of light that catches on the sides like that in the building. Um, I got to be really use this very sparingly so that it's, uh Yep. Okay. Just had a bit of a break here. I thought that would be good. Break in the darkness. Sort of do it in that sort of places here and there as well to the left. We're finished. 32. Day 13: Porvoo Drawing: Okay, let's get started with the drawing. And the first thing I want to do is just pencil off the edge, the edge of those trees in the back. So I took this photo from a bird watching tower in Finland. This was off a little island in Povo And I sort of A just so that it was quite balanced. The photograph. Now, let's have a look here. We have some trees on the left hand side. They sort of come in. Now you don't have to get this in perfectly, but we do want to make sure that they're kind of a bit taller than the others. So you need to reshape this. That's fine. Just make sure they're a little bit, they're a little bit taller than the ones to the right. Sort of come down here and now you've got another sort of section in front. And again, it's just kind of a smaller section that goes about to the middle part of the scene, middle part of the scene, about here. Okay? It's actually like a tree line closer that goes a little bit further in to the scene. Okay. Now, over here to the back end, there is another sort of darker tree line, actually, that just runs like this and runs down and you have smaller trees as well in front. There's a bit of water here. You can't really tell, but just in the back end there, there is a little bit of water. I don't know if I want to get that in, but we can try afterwards. Let's just see how we go. And all the way in the back, it becomes so difficult to see exactly what's going on. But the important thing is you have variations of these trees, so it's not just the same shapes all the way through, okay? And there's actually a darker here you go like a darker section of these trees that run over the top, you can see here and just sort of go all the way into the background like that. That's going to be important to just make that area in the back a bit darker. And there's some shadows running to the right. This tree here, there's some shadows running into the scene here. You know, it's actually quite a lot of shadow in this scene. I almost want to reduce it down a little bit because it seems a bit too much here at the front. I really like the fact that you've got this beautiful kind of yellow, grassy, kind of dried, sort of grassy area here. And uh you know, especially this section here where you've got some water sort of opens up into this area of water here. It's a kind of a swampy area. And, you know, on the day I noticed there was just a ton of birds in, you know, running through this area. I should be actually a little bit further to the right, but I'm going to look, I'm going to try to enlarge this section of the water a bit more Okay. I always can change this up a little bit. Don't feel like you have to make it exactly as per the reference all the time. You know, there's a bit of you see a little bit of darker section there in here, just at the base as well, here, here. Okay? This whole section really Good. All this is gonna be done wet into wet. Okay, so it's quite a quick little sketch. There's not much else I want to do here, so let's go ahead and get started with the painting. 33. Day 13: Porvoo Painting: And the first thing I want to do is start off with the sky, and I've already got some gray on the palette, just a little bit of this gray, which I'm going to drop in here or the base of some of these clouds. Okay? Just a little bit of kind of, purplish, grayish color running through. Okay. Then I'll just add in some water up the top here. Just going to blend this a little bit further upwards like this. Okay. Yep. Good, like that. I don't want to let that dry. So I've got to be pretty quick with this. Coming down here, there's probably seems to be a little bit more color here, a bit of darkness there. Sometimes you'll find at the bottom of the clouds, there's like a little bit of darkness at the base of the clouds as well here like that. Just indicate that wet into wet while you can. Now, further down the page, you've got more of this kind of cloudy sort of area down below. So I'm just going to quickly put in a bit of that, okay? Good bit of that cause a lot of it's gonna come out like I'm going to add some more blue into it anyway. It's no big deal. Okay. Now, cerulan blue for the rest of it, pretty pretty light cerulean blue. Okay? And I'm just gonna blend this in to the cloud like that. You want to leave a bit of white in the sky. You can do that. I tend to just, I tend to just kind of blend it together so that it looks, um, it just looks more like one shape. Some people like to leave more white on the paper. I can leave a little bit here and there. It's all up to you. It's completely up to you. Okay? Really light washes. All this is I mean, you're talking about five, 10% paint all the way through, really. Okay. Down below here, that's going to be blue as well. Okay. So we're getting to the point where the where you've got some crossover now, I guess, between the trees. So I will just kind of cut around these trees a bit. Not too much, but just enough so I can kind of end it all here. Okay. If you go over it, it's not a huge deal, by the way. It's just I like to keep sort of crisp edge there so that we can really make the colors of those trees and things pop out more. Got it. Now, this whole area at the back really needs to be quite dark as well. So the first thing I'm going to do is actually just dry this whole thing off. Now that's all completely dried, the next step of this painting is to get in those trees, the tree line at the back, plus all this grass and the warmth here in the foreground. So I'm going to go in with a bit of kind of orange color. Now, this was near the end of Autumn. So you do see some of these, these sort of, what you call it like orange looking trees here. There's a lot of water in there as well. I've just got to make sure I keep this light here, okay? Just for some of them like that here in the front. Okay. You know, kind of orange, but at the same time, there are still some greens in there, so I don't want to make it too obvious. You know, in the background as well, you might see a little bit like that. There, I'm just sort of being very quick with this as well, just seeing if I can put in a little bit of that orange. That's all back there. But I mean, for the most part, you've got lots of greens in here. So I've got some undersea green. It's basically a dark green color. But I'm dropping a little bit of this in as well to break that area up, make it a bit more look a little bit more interesting so that it's not the same old orangy color because that's not the reality of what's happening in there. Okay. Now, the tree line right at the back, we're not going to touch that. We're gonna leave that until later. Okay? But all this stuff here, we can get in. No, some orange, some greens. You can see the tips of some of these. You can like the tips of them as well. I'm just trying to really darken a bit more up here as well, and keep a few of them maybe just poking out like this. But trying not to overdo it as well, is tough thing to do. Kind of a bit of touch and go. Okay. Let's go over to the left here. Okay. So you're kind of keeping things fairly light still. Okay? But it's darker on the left hand side, obviously. Okay? And then right there at the back, that's going to be our final darker sort of tree line once we get to it. Okay? But for the time being, we don't want to bother too much with that. It's just a bit of color there, and that's all. Did mention this little bit of water there. I don't know if I can really imply that just with a bit of cerulean. Let's just drop that in to see if it might look like something, okay? Back there. Just a really basic sort of cerulean blue. I'm not gonna bother too much with the details. Now, as we move down the page, this is where I'm just going to start picking up some greens. I've got some dark green, but I'm mixing in some yellow ochre, which is, like, a dull down sort of yellow, as well. So I think what's going to be best is if I actually go through and do this little touch of grass here down the center, so you can see it's kind of a really kind of sandy sort of grass that runs through the scene. You know, you've got some running to the right hand side, and this is just a bit of yellow ochre mixed with white guash. And the guash just makes it more kind of milky, almost like a naples yellow. Okay. I'm just going to be quite careful this to cut around the water area here as well. There's meant to be some water in here that's got to be preserved for later. Okay. But all this stuff, you know, I can get in easily. But I'm using a large round brush for this for extra accuracy. Okay, good. Let's go in with the greens now. I've got some undersea green, and it's just like I'm going to put in maybe a bit more yellow, yellow ochre in there. Now, let's just carry this downwards. The trees in the back are still a touch darker. So we got to keep this we got to keep this area in the front a bit lighter still. Okay? And I like to blend this green on with the yellow that's already there. See, I'm just sort of touching on to the yellow like that. Okay? Maybe I can put a bit here as well. Alright? Just for the sake of bit here to the left, it's the same sort of deal. It's pretty light green. We want to make sure that's pretty much as light as we can get it. Okay, join that down to the trees. You probably use the mop brush for the rest of this. It's gonna be quicker. Yep. Again, you know, joining it onto that yellow to the right. Bring this down. Okay, fantastic. So that should all blend together nicely and do its thing. And basically, what I want to do now is to work a bit on these little bits of blue here because it needs to also sink in. So the same kind of round brush. I'm going to pick up the same kind of round brush. Ultramarin blue. Bit of ultramarine blue. And let's drop this in here. Good. Looks like a good sort of color. Here, yep. I kind of like a bit of water, I suppose. Yeah. Okay? This will blend and don't worry about that. Just let it do its thing. Okay? Let it do its thing. Does have to be probably a bit darker than that. There we go. That's a bit better. The top part does have this downward sort of you see these little marks at the base here, where the grass kind of touches the water. I'm going to just indicate some of this now because it's going to be too obvious if I wait later to do this. Okay. And actually see some of it go all the way into the background or touch there as well. Let me just get some more in that. It's kind of just indicating this edge, suppose, the water. Doesn't have to be perfect. Good. Um, Okay. If you've got a little rigor brush as well, I find these rigger brushes are great. We're just implying tiny bits of details like grass, little striations. I'm going to pick up some a little bit of this yellow ochre and just feather in a bit of this from place to place like that just to get in. Some of that contrast and make it look like there's some texture in this grass because at the moment, it doesn't really look like there's much texture there. It's just a lot of as you can see, it's just a ton of space. So this is going to help a little bit, just to imply that. I just a rigor brush, be surprised what a few little brushstrokes like that can do sometimes. Okay. In the back end, I want to continue to work some maybe a bit of darker green in here as well. So it should I think it should just have a little bit of extra darkness in spots but Here, as well. So more darker green where this crossover is. You're almost just purposely leaving in a touch of sharpness or the yellowy part. Yeah, and then you kind of just blend this other green into it. It makes it look more green more yellow, I mean, if you do it like this. The yellow sort of sticks out more. Okay, so this area in the back has probably started to dry off already. Mm hm. So we should be close to just getting in some of those details, but I've got some extra kind of darker paint here that I'm going to drop in from place to place to bring out some small little you can see here, just little contrasts and things running through. There's actually a bit of I don't know, it's like a darker section there in the back that runs through as well. The whole area is not the same color, so you have to do things like this. Otherwise, it just comes out flat. Okay, there'll be some lifting out, I think, at the end, as well, but this is a good way to kind of draw boundaries as well. Okay. Let's work our way through to the back section, and I'm using a smaller round brush for this. G to mix up a bit of purple and a bit of green to get a dark value of green. Maybe we'll start here. Yep, yep, and work our way through. Now, remembering to leave that previous wash in as well. Don't just eliminate that previous wash. It's important to keep some of that. Okay? Be quick with this, as well, not to, um, okay, here, this is the part that we got to be careful with again. This is the section where I'm kind of cutting around these trees, as you can see. The tree line out the back comes down, but the trees in the front are lighter. Sadly go to make them pop out better afterwards with some lifting off work. Okay? Here, look, there's also, you can see at the base of these trees, there's a bit of darkness as well, like here, right hand side of that tree. That's a bit of darkness there. There's a bit here, here as well. So you just Okay, something like that. Back to that larger shape in the distance. So here, let's follow this across. Again, cutting around some bits and pieces. Sometimes the less the less you sort of touch the paper, the better. Okay, here, there we go. Now moving over to the right hand side, it's going to get dark again, so more green. Okay. Remember you leaving out some of that stuff as well, not just painting over the top of all that previous wash. That's the whole point of this to get in different layers, different contrasts of what we see. Okay, let's cut around these ones here, move all the way to the right hand side. Okay, and there we go. We are finished with that tree line. You might want to just flatten out some parts or just re jig some areas like that. These look funny at the moment, but we're going to use at the end, we'll lift off a bit of paint to make them softer, okay? So I want to make sure I've got these shadows, these really strong shadows running in as well, which are important. Okay? There's a bit of shadow running to the right there. Can you see? I'm picking up a bit of dark paint. It's just green and purple mixed together to get in a bit of that shadow like that. 34. Day 13: Porvoo Finishing: Okay. Then you got this one, as well. That's just a cast a shadow to the right there. Alright. All of these trees here pretty much all in complete darkness. But you have to make sure this shadow comes through and a bit of a softer edge to it, as well. Because this area is still wet, you know, getting that softer edge is a lot more easier. So I like to paint wet and to wet where possible. It's the mop brush. Swap over to the mop brush when things when you're painting larger areas. Otherwise, you're gonna be stuck here for who knows how long? Okay. Yeah. All just darkness really here at the base, and goes all the way into this sort of section and maybe finishes off a bit there. Let's try here. Coming in a bit more. Trying to soften soften it off on the edges as well. Uh here. Okay. Is run a bit more to the right. Let me just, let's just get it in. I was going to shorten it, but I think it looks better like this. So yeah, I was gonna finish it off maybe a bit before that. So, I reckon what I'll do as well was add in a bit more blue at the base. Yeah, a bit more blue or a bit more kind of purple ish mixture, like here. Even within the shadows, you can see that there are some darker spots of shadow. So you have to also imply that, believe it or not. Okay. So it's kind of just purplish paint that I'm dropping in here, just purplish, slash blueh kind of paint, okay? Good. Now, I've got a little fan brush here, and the fan brush is going to be great. Here to imply more of this grassy effect. And I'm also wanting to scratch off some paint. I've got a little pocket knife here that's going to do well for that with that. Now, just leave that to dry for a little bit. In the background here, I want to make sure that some of these trees also have you can see, kind of, like, darker spots at the base. So kind of like it just makes it look like there's, you know, a clump of different shapes, not just the same gigantic sort of clump of trees. They are composed of a few different trees. Um, yeah. Just a bit Less is more trying to just darken some of these trees a touch as well, so that they come out of this darkness here in the back end, especially because they're quite close to us. So they do need to be darker. Maybe just more darker shadows here as well, near to the left hand side. I want to exaggerate that a bit. The darker the shadows are, the more the light's going to pop out on that right hand side. But I don't want to overdo it, as well, so yeah. Back to that mop brush mop brush, the fan brush. And a fan brush has a kind of this sort of effect here, lots of little bristles, and you can basically get in lots of brush strokes on the same direction. Okay? So I've got some of this what you call it, like yellowy colored guashe mixed with it's just yellow mixed with a bit of um a bit of white gash. Here I'm just trying to imply the grain I suppose, the grain but basically the smaller brushstrokes for this grass because it doesn't really look much like grass yet. But some of these downward brushstrokes and stuff like this is going to help, especially while the paint is a little bit wet still. I didn't want that, but it doesn't matter. It's kind of, um, So don't go too far down or you'll get this sort of thing happening. But that's not a big deal. Just go over it a bit. Okay. And, as you can see, they're kind of these, little tufts of grass, I suppose. I don't want to overdo it, because actually, in the background, it looks pretty good already. If you get off. Get too much, lift off like this. And yeah, 'cause you don't you want this beautiful transparent effect to show through. So sometimes I tend to just if I'm not careful, overdo it. So we've got to be careful here. K. I want to put in maybe a bit more back here, just like receding back a touch. More yellow. Warmth really receding back a little bit. Okay. But yeah, I mean, at the end of the day, that is a shadow that runs to the right, so we can't get rid of that completely. As well, good. Just sort of redo that shadow a touch. Make it a bit darker. Just looking at that section. It's better. I thought it just looked a bit out of place for a second. Now, this other technique here, sort of, use the edge of a pocket knife, and you can scratch away parts of the scene. Some parts have already dried off. So I can actually just rewet quickly like that the few sprays my spray bottle. This should just reactivate just enough so that I can do this thing. Okay. I want to get this three dimensional sort of looks of the grass going into this little area of water here. Okay. Maybe some more here, just some, you know, bits of grass running through. Okay. And also here. You can see just on this part where the The shadows are, you can also get some little, you know, little bits of grass that catch the light. And you can do this, sort of scratch off a few tuffs of grass and things here that will help make it look like it's coming through. Even in the background, you know, there's some spots that I haven't completely dried. I can sort of scratch a little bit off. Yeah. But it's mainly just here, I guess, in the foreground, there are some, you know, these bits and pieces of grass. I think that's kind of important. Not all the areas have completely dried yet. There's only some parts that have dried, so you got to be kind of careful here. I also don't want to overdo it. So, you know, you're going to get a bit of light maybe catching some grass here near to the edges, you know, the edges sort of thing. But in here, you're not gonna see much of that happening. So you've kind of got to be, yeah, kind of mindful of that. Yep. I want to re wet this part a little. Just that part. So I can scratch off a few tufts here too. It's very difficult sometimes in watercolors to create texture because Yeah, it can be tricky. Scratching out technique is one of the best ways I know to imply some of that in a very subtle sort of way, making sure you're not overdoing it. Also, look, this area here, I just want to make it a bit darker again near the base. It's just not quite there we go. That's looking a bit better. It just wasn't reading right before. Reading here should be darker in some spots. I'll have this grass going upwards as well to help cover this up a bit. The spray. A lot of this stuff is starting to dry off. I'm going to speed up the process using a hair dryer. Alright, so final finishing touches, what I'm going to do here is pick up a small brush and I'm going to just lift off a bit of paint. So I'm going to scrub onto some areas like here, lift off. Okay, the edges. And I've got this brush is actually called a Filbert brush, but you don't need one of these. It's basically a blunt edged brush. You can use a round brush. That works pretty well, too. You know, I can just make this a tree here that's sort of peeking through the peeking through this area so that there's a bit of light, I guess, showing there, like coming through those trees. You're really just picking and choosing some bits to, you know, bits and pieces to lift off. It's more sort of around here, I would say, like the little sunlit bits of tree things, it's just clean water that you're just picking up at a clean water, then dabbing it on, then lifting off straightaway. You're going to make these sort of group of trees go back just a look a bit smaller as we go back into the distance. Okay, but they still look kind of like defined individual trees as well. Okay? And some of them might go up a bit higher, like this. Okay. Let's just go up here and lift this off. And they do look a bit like more Just the same sort of shape as well. I'm trying to vary their shape a little bit. Where's that orange. Oops. That's just a little bit of orange. I just dropped in there to bring some of that color back warmth. Here, lift off. Okay? Some of it you don't really need to touch. Where some of it it would benefit just by lifting off some paint. Okay. Add some softness into the background. These trees as well. This could do with some softening around the edges of that tree line. Like this, just a bit of softening. Okay. Of course, trying not to overdo it as well. Is a bit more yeah, a bit more green on the right hand side of those trees. But you bit of shadow underneath here. Some of them. Don't want that. Let's just clap it in again. And we are finished. 35. Day 14: Helsinki City Drawing: Okay, so we're going to do this noc turn scene here in the center of Helsinki, and I took this photo really late at night the first night that I arrived, actually, and it was quite misty. I just bumped the contrast and the exposure levels up on this photo so that I can get in enough detail for the buildings. But we're going to make this pretty loose. Now, on the ground here, we're just going to put in a little area where the buildings touch the ground. So just around about maybe here, okay? Leave a fair bit of light. And what I'm doing here, I'm just putting in the kind of left and right hand side of this building right in the center, you can see these two kind of towering areas on the left and the right hand side. So let's pencil this in very simply like this. Leaving enough room up the top, as well for the sky. Okay? Something like that see these little pointy bits up the top there. And in the center of the building, you've kind of got these bits that come across there. I'm just looking at it as just little shapes, here, a little bit like that, and that comes up, forms a little triangular section like that. Looks like that comes down there, connects up. Okay. Another bit that goes up here, runs across. You zoom into this image a little bit further to have a quick look at this. It's actually more rounded off. It's difficult to see, but it's more rounded off and then top there, and then it comes down. Okay. That some other building there in a chimney or something there, and then on top here, you've got a bit of detail like that, and then you've got a flag. It must be the finish flag can see a little bit of that on top. Okay, so there we have it. The main parts. And let's carry this down now. Remember, there's a lot of this stuff that we don't really need to draw in because we've got this tree sort of all the way in the front here. Alright? That's covering up most of this building, but we do have some little darker bits that I'll just scratch in here, okay, little bits and pieces. Here, like windows, I suppose. This bit sort of comes down as well, like this here. And we've got a statue in front of this building. Well, not sure. I should look up the historical significance of this statue. I'm not quite sure what it is for, but really it's just a person on if you think about it, just a person. Okay? That's all you need to sort of betray here, okay? Setting up the top, there are some more trees kind of here, kind of shrouding it. Okay. Now, to the left and right of this building, get this bit more symmetrical. But left and right, this building, we have some details here, so there's like an arch sort of thing here, and this is the light of the building as well, so we really have to make sure we leave that in. Same at the top of that, as well. And we've got ord of one here at the bottom, like this, okay? And some more kind of little shapes here at the base there. What else do we have? You know, there's little lights on these windows that are on the building as well here. They really stand out in all this darkness. And, of course, you've even got some lamps like here, maybe, like, running to the left and right. Small little lamps. There, let's have a look. There's some more of these little bits here. I'm just really trying to simplify this. Mm one, two, three, one, two, three, like that. Okay, bit of detail on the building as well. But, for the most part, it's pretty much in there. Now, we've got this building here to the right and it sort of is composed of multiple sort of buildings, as you can see. And, you know, goes across and then like that, across as well. A little central part there. The rooftops are just kind of darker, a little bit darker than the sky. Okay. And as long as they just sort of stick out, you know, that's fine. I think there's actually a tree, like a larger sort of tree out in the back there. It's hard to see. We just zoom in a little bit. No, it's not a tree. It's actually just buildings out really far off in the distance. So just getting a little silhouette of that. Like this, I thought I was going to get in a tree, but that actually looks better. Okay. But then these buildings also have some kind of rooftop on them as well. So I'll just imply some of this detail like this. And you've got all these little windows, of course, on the buildings as well. At the base, you've got like some little shops that look to be closed. So lights as well. Okay? I'm going to exaggerate the darkness on these buildings a bit as well. But you've also got this tree here kind of coming in from the right hand side. You know, look just the base of the tree. There. Then you've got main part of the tree above. You've even got some people walking around. One person here. You can have someone just sort of walking or standing almost, like, here, here. You put the people in different poses. It helps to make the scene look more interesting. There's a bench or something here, I think. I can't really see exactly what it is, but there's some kind of bench. There's some shrubs, some shrubs here as well. You know, just looking at more of light and dark areas, good. Oh, I forgotten to get this in. There's another building here to the right. I will just have to draw it in over the top. And it's, like, another sort of building out the back, okay? Forgotten to get that one in, but that's okay. We can sort of squeeze it in there in front of those other buildings. Okay? It's pretty loose, this drawing, as you can see, it's almost a bit scribbly, if you ask me, but, you know, a lot of this is going to be covered with watercolor anyway, later. On the left side of the building, you've also got I've got something there. It's like that same building, I suppose. It's running across the back. Actually, it's like a there's, like, a secondary part of the building just running across, get that top of it in. Yeah. Maybe it's really difficult to see, but there's something here, okay? It's just dark. It's not a big deal, okay. Try not to over exaggerate this. You've got this other sort of building here as well to the left there. Okay, and some little windows, details of the windows like that. And again, kind of rooftop here. Well, nice loose kind of drawing. There's little lights as well on the building. We can bring them out a bit later in extra detail. But I think, you know, another figure another figure or two, one here maybe maybe another one closer to the front of the scene. Like there, that could be Interesting, as well. Make sure I get these legs in more accurately. Yep, like that. Maybe someone here just over in the back. Why not? Alright, so let's get started with the painting. 36. Day 14: Helsinki City Painting: Really, to begin with, I like to put in all of the lighter sort of values first. So we're talking about a lot of this golden sort of color that's coming from, like, over here, for example, there is some kind of what you call it lamp. White. So a little bit of this yellowy color here, okay? You do see a bit of it up in the corners as well. So let's just get some of that in. Alright on the buildings. Really, at this stage, I am just putting in a bit of this Indian yellow plus yellow ochre. Okay, to to get in this light. And as I move down the page, as well, I'm really putting in less color so that it is lighter. Even this tree here, you know, we could even pop in a bit of green in there as well, a little bit up the top perhaps like that. More yellow. Okay. Let's use the larger mop brush. I think this is going to accomplish this a lot faster. Okay. Yellow. Yellowish sort of value here in the ground. It's like an Indian yellow. I'm going to mix this with also some yellow ocha so that it doesn't look too vibrant. Okay? This all runs across the ground. I kind of want to keep this stuff, like, wet as well, so we can re wet it afterwards if needs be. Okay? The time being, it's not a huge deal. Just as long as we've got a little bit of we've just keep all that light on the buildings, it's so important. Now here, I'm going to just add a little bit of light to the side of that building. Now, these buildings, I'm going to pick up some yellow ochre, so like a less vibrant yellow, and we're going to blend this sort of in. And I've also got some burnt sienna, which works very well also. So just cutting around some of these windows and things as well. This is, mind you, sort of nit picky, but I want to just make sure I've got a really, really bright contrast for some of these areas. Even up the top here, you're kind of looking at it being almost white. But yeah, it's not a huge deal, just trying to get that highest amount of contrast, you have to save those whites. Otherwise, yeah, when you paint over the top of them afterwards, you're gonna miss out. So Yep. This area is kind of getting a bit grayish. I've got some other grays here in the palette or it's like a bit of purplish color, I suppose, that I can just drop in up the top here. Okay. Just a little something. In there? Yep. Good. This tree is a bit of green will be good there. Just drop in a bit of that green. Notice I'm just really trying to trying to get in a really light wash for everything. I'm not bothered about the exact color, making sure I've got a nice fluid wash running around this entire scene, leaving out a few highlights here and there, of course. Alright? Let's have a look on the left side of the building. I'm probably going to use maybe some more this purplish or darker color here. Yellow and purple primary colors, not primary colors. They are oppositional colors on the color wheel. They're complimentary to each other. And so when you mix them together, they just result in a dull version of basically almost a grayish color. So they're good kind of mix to use. When you want to get in more dull version of whichever color. So for me, I just want to dull down that yellow. Over in the back here, let's put in some bits of purple maybe there. Then in the buildings, again, it's just, you know, yellows, pretty much any kind of warm colors in there. I'm going to use yellow ochre now. Okay. If I can just do it in one go, that's going to be the best way. Do it quickly, get it over with. Okay. In the ground here, we're going to start putting in a bit of light as well there to the left maybe, like that. I can leave in a bit of white. Why not? This is when it gets a little bit tricky because you're basically starting to now put in the darker sort of values in this scene. So it's a little bit tricky. I think what I'll do is let that top bit dry off a little bit first, but I'll work on the bottom bit. This is some purple that I have a little bit of purple, great color to use that will get in this shadow here. Maybe some brown in it would also help a bit of extra brown. All right. Well, brown in there. Really, it's just a gray. But purple is a good I like the color purple, especially when you combine it with yellows. Okay? This is a dull kind of purple, as well. You can see there's little bits of this running across even the right hand side there, you might have a bit underneath this tree. You know, there's a bit running across the scene here. It's not going to be perfectly, you know, have all this light all over the place. You're just going to have bits and pieces of light peeking through. Darker here, the left, just to really bring it out. It's tricky because you want to also preserve the yellows on here. Okay. But this is going to be nice and hopefully create some nice gradients, some nice nice sort of wet and wet effects and get this to blend together and do its thing. Now, this part should almost be dry up in the sky. So I'm going to use this same kind of color. It's like a purplish color mixed with some brown, maybe, purplish color mixed with a bit of brown. And what do we have here? Just just a darker sort of value, essentially, that we can use to paint the sky, okay? So let's go. Let's just do this all in one go. It's pretty dark sort of value. I do have some ultramarine blue, as well that I've mixed in there. Of course, you've got the finish flag here, which I'm going to cut around. I really want to make this darker, but it's tricky to get it really dark. Okay, that's the flag. That's just cut around it a bit like that. You only get O has to do stuff like this and if I don't have to use the wash. Prefer that. There we go. Kind of like the edge of the brush. Good. Okay. And this is kind of the point where I am just kind of, you know, carving around and creating the shape of the building. And this isn't the end, by the way. The buildings are actually darker, but this is just a way to get in the sky wash first, and then we can get in the rest of the buildings afterwards. Because if we go in to the buildings, I think it's just going to make it I prefer to paint from light to dark. Okay, so this is kind of like I wouldn't say a mid value, but certainly it's not as dark as some of the buildings, so we can get away with painting some of this first. Okay, good. And, you know, notice I'm leaving out the rooftops here as well in the background just that I remember where to put them in because it's tricky to figure out where everything is. Okay? All right. More purple and brown mixed together. Okay, here to the left. Again, cutting around some of these buildings like the top there, that's going to be, you know, go a bit of light there as well. Yep. Good. Good. Okay. Okay, there we have it. You know, the sky's in. The sky's in. Now, on the buildings, notice that there is a bit of shadow. It's not just all completely light. You've got some of this sort of shadow running on some of the buildings. Like for this site, it's, like, a little bit darker, you know, and then you've got a bit of darkness here. Okay. There you know, you're just implying some of this with some of that purple, okay? And it's kind of why I use that purple as well. It doesn't change the value, not the value. It doesn't change the color very much. It just sort of dulls down that yellow and makes it darker, okay? But what I really want in this scene is really kind of nice soft shadows running across some of these buildings. Okay, might switch to this smaller brush as well. I'll give this might give this a quick dry in a moment, but this is a quick, little bit of something I want to put in here first. Now, if any part of the scene complete has completely dried off, you can just spray it down like that, a bit of water and just go kind of back into it again and drop in some paint wet and to wet like that. It's a good way to preserve as much light as you can. Okay. All right. I'm going to give this a quick dry. 37. Day 14 Helsinki City Finishing: Okay, so everything has dried off now, and what we want to do is mix up some dark color. I've just got some neutral tint here. I'll maybe drop a bit of purple in there as well, a little bit of brown to, you know, spice it up a bit. Now, over here on the right hand side, we still have some of those drawings of the rooftop detail of the rooftop. So I'm going to use this brush to go around. Shape this rooftop in. And this needs to kind of come out a little bit from the buildings itself like this. I'm just going to paint this part in. You know, you've got this kind of rooftop here as well. It's quite dark. You've also got this light here that I've not preserved, but we can probably lift out some of that paint afterwards once we get to it or not. Let's see how we go afterwards. I want to put some kind of sharper shapes for the roof, like they're just coming through, you know, making it look like, you know, there's more going on back there. And I'm making the rooftops a little bit more brownish, as well as you can see. They're just kind of a little more brownish. Thank you. And Yep, sort of figuring out this area. This area can probably just put this side of a building or something in there in the back. I've kind of painted, overdrawn that line in earlier. So yeah, this can do. For now, this is like the top of that tower or what have you here. There's still a lot of light on that left side of it, so I'm going to leave that in, and we're going to work on this part of the building here or in one Okay. Look at that. Just a quick thing like that. In a bit of detail on the building as well. There's some, you know, windows and stuff. Sort of simplify this down. Okay. Of course, there's this sort of tree here, just getting a bit of detail underneath it like that. And, of course, the base of the tree, let's use some darker paint to imply that part of the tree. It's hitting the ground there, something like that. And, you know, the base of the buildings as well, you see there's like this some shrubs and things, windows, that sort of stuff. So I can just sort of imply that and also the little lines on the buildings there sort of separating out the buildings. You can go ahead and do some of that, as well. Okay, I'm just popping in a few little windows and things that I think might be there. No. In the distance. We've even got some people here. Let's put in this person. Another person here. And here, Okay. You know, a little bit of shadow maybe running to the left as well for these figures. Yeah, all these buildings, I need to just darken down a little. There's too much light on them. So I'm picking up some kind of bluish color, some darker sort of bluish color, but it's still diluted a fair bit. And I'm just going to go over the top, cut around some of these bits of light that I'd left in from the previous wash like that. I might get in some of these windows back here just for the sake of it like that. Oops, something like that. I do also think that the buildings here could do with a bit of that bluish value like running through some areas like this top part of the building like that. Um, yeah, it just looks a bit too stark at the moment. Spray that down a little bit. Okay. Down here, a left side of the building up the top. There's a bit of light on the roof here, but inside this building, it's all just pretty dark, really. So I'm going to leave that but just add in this extra layer, I suppose, of this bluish value. A little bit of that on this tip of this building, as well, some sort of color that's running upwards, so I'll have to soften that off a bit later. Okay.'s more blue. So green for this tree needs to go in front of the building here. And around this statue, as well. I'm trying to darken this down extra that. These little shrubs or whatever down the base as well, I'm just gonna put that in. There, I'm going to have to redo these figures I've sort of sprayed a bit too much water on that side. But that's okay. Once this dries, we can go in and redo reduce some of those windows. Another thing I like to do is just lift off some color. There's too much on here, use a tissue bit of tissue, and you can do this sort of thing. And that just will lighten up lighten up an area if you've gone too far. Okay. Back here. With the rooftop in. Let's get some of this like this. So that it hits the sky. Good. Then a bit of darkness in the background here, I think would be good to just bring out the building here and front more. And this sort of same deal at the back here. So I'm just going to bring this some darkness down the page. But still leaving a good amount of the yellow on the page on the paper. Kate. We have it. Bit more maybe darkness behind here again to just bring out this building to the left more. You notice just parts of the paper starting to dry? Like up the top, I'm just going to mix in, start putting in a bit more little details. So kind of dry brush on using a smaller round brush. Make little details now. Where is it here? I think this sort of like a triangular sort of section like that. Behind it got this sort of darker section there. Oops, maybe it should go up like that more. Yep. A little bit of line work goes a long way with these sort of scenes. Yep. And just darken a bit also around the edges. Top part of this building, I'm gonna get in just with some quick indications like that. Yeah, not much. Just so that it sticks out of the sky a bit. There is a bit of light up there as well. It's kind of like cooler light, I suppose. Um, Yep. These sort of bits and pieces like stick out. There could be like chimneys, I think. Bit darkness on the left side of it there, and you just indicate stuff. It's not really there, but some indications. Dry brush work here in the background. I just darken a touch. There's anything there, but I just want to darken behind this. And it's just the same sort of stuff I'm using, just neutral tint, okay? Down the sides of this building, you'll notice there's, like, a bit of, you know, detail detailing there, so you can just sort of put that in. And, you know, these little windows and stuff you can detail. It's why I don't like to draw too much in pencil because I'm gonna be doing it afterwards anyway. Okay. Uh, statue. Same tree. I got to make it a bit darker. So more black in that section. Okay, a little more detailing work here on this window like that, you know, this tower well it's a bit much, but that's okay. Building here, the left. Again, just some little sort of details. We have the windows. That's I'm gonna respray the bottom and get in a touch more darkness. I've just covered up the rest of it so it doesn't spread too much. U. More of this neutral tint. Here. Ben building across here to the right. Okay. And, hopefully you can just get in a bit of black here to just bring in these figures you are walking into the scene or out of the scene here. But, um, I want them to kind of blend in with the bottom here as well. So, uh head needs to be a bit bigger, maybe. That Another figure, maybe a couple of figures here. That and a bit of light also running to the left hand side for them. Sometimes a shadow running through the back like that from our sort of unknown location helps to just bring it all together. There's a person here I forgot to paint in like that. Well, and let's just put in some of these windows that we lost out before Tops of the buildings just can do a bit more line work like that. Even here. Of the building sometimes just have a bit of extra darkness down below to anchor it to the ground. Quick little dry off. Okay, some little finishing touches. I'm going to put in a little flag here, a little finish this blue cross that runs across the flag like that. Just so that it kind of looks a bit more like the finish flag, I guess. Okay. I think that does the trick for that part. Now, what I want to do is actually lift off some paint to give this impression of light firstly coming off this section here. So I'm going to use this part of the building. This part of the building here that will lift off, create a lamp or something like that here. Really kind of light section. Okay. Then I'll use this flat brush to kind of make some marks like that and then lift off, especially near here, like that maybe. Just kind of make it look like we've got a bit of light that's spreading from this area a bit of yellow little bit of yellow here. This is going to make more sense if I put in bottom part of the lights. I like this coming through like that. Okay. So more lifting out with this fillbt brush I have so scrubbing away. Yeah, just to make it look like there is, I guess, some kind of light there. I'm going to do it here just on areas that I want to soften more edges of buildings, that kind of thing you can lift off and get a bit of that light back. And I think we're going to call that one finished. 38. Day 15: Gamla Stan Drawing: Okay, so let's get started with the drawing. This is Gambler's Stan in Stockholm. And really, you've just got these silhouettes of the buildings. You've got this kind of water fountain slash statue here to the left. I took this photo when it was pretty much the sun had just gone down, but you can see there's still some light there in the sky, but the buildings actually darker than the rest of the scene from the ground. So let's go here. Let's get in a rough little sketch of what's happening, and I'm going to leave less of the ground, okay? It's just I want to zoom into the photo a little bit more. Now, the first thing I want to do is sort of cordon off this left hand side. We know we've got this building coming in from the left. Something like this comes down here. You know, there's another building here, and then there's, like, another sort of building here that has a right hand side there, as well, like that. Good. Now we've got these sort of four buildings here to the right. And these are kind of quite iconic looking. So I'm going to put this in kind of here. Sort of a rectangular like shape. Okay? The next one, also similar rectangular like shape, and maybe put the top a little bit of the details of the little stories, what have you. But I'll get more into that in a moment. This one comes out a little bit in front, as you can see. You can see the side of it. Just emphasize that more and then go down for the right hand side of the building like that. And there's something on the rooftop, as well. You can see there's, like, another sort of part there on the roof, that. And this one here to the right kind of just you know, you've got this sort of rooftop that runs down like this, and then, you know, comes right down to the front there. And to the right hand side, we've got this, like what you call it other building to the right. I think this is actually the the Nobel Prize Building Nobel Prize Museum here. So it's just some little details. There's some pillars, little columns there, like that. And then you've got some windows, you know, just I'm just putting in some little details, not much for that. Just something Okay? Good. And you've got sort of like a sort of bush or something here. It's not a bush, like a shrub, ornamental shrub. And, of course, here you've got this sort of building here in the back, but I want to zoom into this image a little bit more. There is a structure here. I want to move it maybe a bit over to the left. Okay? I think I saw someone refilling their drink bottle here as well. So it must maybe connected to an aquifer or something. And nick there, and it's just kind of like a tower sort of structure here. It looks like a really old structure from who knows when. But there it is. It's just something in the foreground. I don't want to emphasize it too much because at the end of the day, it's more of a shadow than anything else. Here there is this shade cloth behind, which I quite like there, and maybe another going to just make another indication of a shade cloth here like that. Another one. Yep, and it's just sort of like a fenced off area. This is a restaurant. Looks like there's a guy maybe standing here. Maybe let's just put someone there anyway. And these buildings, there's not much really to put in just a simplified windows up the top there, like that. Okay, let's have a look at this building now. I'm just, you know, going through a second run of detailing, and we can put in things like windows. That's a window. It's another rooftop area. This is all going to be darker, this building behind, so it's going to bring out a bit of the light actually on this building to the left. Let me just detail it in a bit more. Okay. The rooftop or something coming off the right side of the roof, and there's little chimneys and little details there on that right side of the building there as well, okay. There's another building there in the background. We don't need to worry much about that. Okay. But, you know, you've got these little windows, as you can see here on the buildings. So look I'm just putting in a few of these Okay. You probably have to emphasize those a bit more later, and you've got this sort of shade here and a lot of light underneath this building, right, fair bit of light that we're going to need to put in afterwards. But here, you know, it looks like there's some sort of shade cloth or something here as well. There, there's a bit of light. There's a entrance or some door. There's another window here that's full of light. And we're gonna we're going to put this building in a bit more straight. And let's go up here, the part that goes up to the top. And if you've drawn it in kind of inaccurately in the first place, it doesn't matter. Just draw over the top of it like this. At the end of the day, you know, we're just trying to get an impression of all this stuff, okay? So not try not to worry too much. It's a window up here, and I'm using my arms kind of to draw just to get this kind of these windows in, you know, look one, two, three. How many floor? Three of them, one, two, three, another row beneath, like that. This one here. You've got this section that runs up like that, and then you've got this section up the top there. Okay, something like this. And there's a window here. There's a circular sort of bit up the top. The darker sort of circular bit. And then you've got these windows, so one, two, and I'm using my entire arm to draw, okay? I'm not really moving my fingers here so that I can get in these squares or whatever more accurately. There's some more. It's like a shade here. You can't really see much of it, but it sort of extends there. Then you've got this building here. You've got a shade that just runs like this. There. And the building to the right, there's not really much there, but I'm going to put in a bit of a shade anyway. Okay, just to keep this going. Okay. Windows. You know, the trick to doing these is to not think too much. Just make sure you've got the number of stories right on this building. This is an interesting one. I've got a read of this line here for a second. Redraw this bit more accurately. Where these two buildings connect together, there is a better harmony that comes down like that. There, then this whole side of the building is in the frame, actually. Then you've got this part, which is like the left side of the building. Good. And here we go again, just another detailing on the rooftop and One, two, three. It's like four of them. One, two, three, one, two, three, and the final one here. Final sort of floor, I suppose, you can call it. The sides of the buildings here. You've got some more little bits and pieces. Okay. Just make this look a bit neater. Good. All right. One maybe getting some people, maybe some people running through here. So put someone here maybe. Walking into the scene, we can get someone here. You can see the light reflecting downwards as well, which is interesting. We have to get all that. I'm gonna get a lot of that in wet into wet actually afterwards. So Maybe another person here that's just kind of walking to the right or something, making smaller. And this is all just gonna be, again, the bit of downward brush strokes for the reflections of these figures. Reflections of stuff running down the page. Okay, so let's go ahead and get started with the painting. 39. Day 15: Gamla Stan Painting: And to begin with, I'm going to start putting in a bit of light for the windows. So the kind of yellowish light that I see through here, maybe a smaller brush like a round brush will be better if it doesn't obviously have paint on it to begin with. Uh, yeah. Bit of yellow. Goll it down a lot. Especially underneath these shades and things, you know, they're not even completely yellow. There's kind of orangy colored as well, very vibrant colored. Just warm colors. At the end of the day, you know, if you think of red, blue, red and oranges and yellows, mixed together, that's all that's all I want in there, you know, here on the windows as well, a little bit of yellow, again, just sort of bringing this stuff out of, you know, some of the windows here, um you know, a lot of the buildings really just have a warmth to them, which you want to imply, might as well just get the whole thing done. But yeah, again, I'm just also trying to make sure that I've got different colors running through, not just the same warm colors. There's some other, you know, bit of orange, bit of different shades of yellow kind of thing. Okay. Because we're going to go over this all again afterwards anyhow. Maybe some burnt sienna here for this building, good. More yellow here as we move down. Don't want to remove this beautiful light that you see further down the page. So you kind of got to be careful with this building here to the left. I think I'll just grab the larger mop brush and do this with this building. I don't want it to be too vibrant, just a bit of that color. Been some yellows in that building. Some more yellowish sort of values on the left. Yeah. And to the right as well, more yellow ochre. Okay. Now, I want to do that thing that I was saying before, want to get the light kind of reflecting downwards. So I'm just going to grab some yellow ochre and a bit of brighter Indian yellow, mix those together. And I'm going to just do this sort of thing here, okay? It's quite exaggerated. But you'll see what I mean afterwards cause I'm going to put in some I'm going to put in some cooler colors through this so it's not just all completely This color. Okay. So down at the base, I will put in some purple. Maybe some purple mixed with a bit of this brown color as well. So brown and purple mixed together. Let's have a look at that brown and purple. I want it more vibrant, maybe a bit more blue in there, but not too much, okay? And just drop that in like this. And we can get, as you can see some little contrasts already. Alright? More paint. I need more paint on this brush. It's not enough. You know, you're kind of starting off at the edges of the building, as well, so it's not just all Maybe a cerulean blue in here would be good as well. Just it's more of a softer sort of blue, less Yep. That's nice. This rough paper is that you get a lot of this white leftover on the page, which is great at times, but also tricky other times. So yeah, you see this sort of stuff now mixing into the buildings above. If it gets too much, just lift off. I think we should be okay, though. Now, in the sky, I'm going to drop in some cerulean blue mixed with this purple value. Let's kind of have a look at how that reads. I reckon I'll go with a larger mot brush as well. See how that reads. I think it just needs more cerulean in there, more cerulean. But I do like the fact that there are some clouds. I want to put in some of those as well. Okay. But these areas of the buildings would have somewhat dried already, so you can just cut around them like this. Okay. Got a bit of purplish color here that I'm going to drop in. I don't want to overdo it. But just getting in the sky. I don't want it to mix too far down. But it will mix, and we can't avoid that. In fact, we want it to mix. So clouds, maybe some darker clouds up the top. Just dropping in a bit of purple up at the top. Oops, way too much. I don't want that. I'm going to soften that off a little. Just some serlem I've added in again. And, um, yeah, again, dropping in some more colour. So it's a bit more dark up the top, but then it fades down into a lighter blue value. I like this granulation type effect as well. I get some clouds some darker clouds maybe something just running through in parts. A quick little dry off near the top. Alright. So the next step really is just getting in the dark areas of the painting. Yeah, it's kind of like the mid values. So you see here on this building, it's kind of like a brownish value. So I'm going to go in there and let's get in let's get in some details. And I'm just using a small flat brush round brush for this. Okay? So we can just get in some of this in one go. Of course, I can spend a lot of time on it, but, uh, I think if we keep it simple darker. It's going to look better. Okay. And here, the windows, I'm just going to op in indications of them. As we get further down, I'm going to leave out I'm just going to lighten off this wash a bit as we move further down and also just cut around those bits of light areas as well, okay? Good. Building to the right is a little bit lighter. There's not much to do here. I'm just going to use another wash to go straight in here at the top of the building. Let's just get in a bit of that. There And we've got one to the right here now. I'm going to add some cerulean blue into this mix. Yeah. But it's kind of like cerulean blue and brown mixed together. Don't have to get all these windows in as well. We can just leave some of them dark. Okay. And you have to keep in mind as well, that a lot of this stuff, we're going to go over a second round in a moment, too. So yeah, let's just get this all in. The shade at the bottom here, this little shade cloth is important to preserve, as well as some of that light below. So Yep. We're trying to blend it into the bottom part of the scene a little bit, but, you know, a lot of these wet and wet sort of reflections slash shadows here in the ground. I want to just leave, to be honest with you. Um. Okay, let's get in this building to the left. Same sort of deal here. Shade is actually a bit darker, this thing here. Yep. Going a bit darker with my colors now. This building to the left, needs to be really dark. Um, and I don't want to spend too much time on this as well. But there is a little see that little window, as well, there's another little window here. So you just kind of cut around and make it your own. And then there's this, like, statue. I mean, that just runs, to be honest, all the way up, like there. So this just kind of can blend into it. Like that. Come down the page, hit the ground here. I mean, there's all kinds of stuff running below. Not a big deal. Okay. This little shade, as well, little shade cloth. There, there is some details on the buildings like some darker values as well. I'm going to put in just this kind of building to the left, maybe some more blue in the bluish value. We can leave out a few spaces for these windows or what have you, as well. Bits and pieces back there that I want to emphasize. There's even a person standing around here that I can kind of vindicate. Yep. Glad be another person there, just the sort of chairs and stuff out in the back. Just picking up darker paint. This is neutral tint for this little bush or whatever there as well. You know, you've got some of these people that painted in before. This person here to the right. And we've got this building here to the right, which I think I might keep kind of lighter, part of it anyway. The rooftop, I can just get in with an extra bit of darkness. But with the rest of it, should be kind of good to go. There's sort of thinking whether I want to put in a few little line work, bits of line work on the ground Some of these sort of reflections of the people walking around just a bit of leftover paint that I have on the palette, to get some kind of dry brush strokes running down the page. This is kind of important. It was a rainy day, so you got certainly you have some of this stuff. Okay, especially it's coming from the darker objects in the scene. You know, you get even a bit from the buildings up in the background, for example, some of them are going to cast a bit more of a shadow down below, especially, you know, these little windows and stuff as well, like that. Here, you know, you've also got a bit of darkness running below. Okay. Keeps it looking interesting. Join the legs on to this, as well. You can even put more people in if you want to like that. Good. Now, the final step is to bring it all together. I'm going to use a smaller brush, a little round brush for this and some very dark paint. It's just, like, neutral tint, really. Try the brush off a little bit. And we're going to do stuff like, you know, put in little details, you know, the frames of the windows. You got to do this quite sparingly, as well. And some of the windows you just want to kind of painting darker or make them even less detailed. Uh, Yep. If you make them too detailed, it can really ruin it. The rooftops, as well, a little bit of color, darkness on the rooftops would be good for some of them like this rooftop see, it's just really it's going to look better with another coat on top, like that. I don't overdo it, though. This has got something on top, like these little antennas up there. Okay. Good. You're really just finding bits of detail to bring out of the buildings. Uh, you know, the roof as well here does need perhaps a bit more detailing up the top. Let's have a look at this one. There's some darkness here, darkness on the left side of that building there. You know, there's a bit of shadow on the left side of this building, like running to the left there. There's another kind of window there maybe another window here. This is just a little bit of work that I can do to bring out that building, make it look more interesting and detailed Okay. Well, you went a bit overboard there, but doesn't matter. Let's have a look. So more of these windows so you just see just kind of putting a bit of detail in for some of them, leaving the others. It's a bit of touch and go, really? You're just seeing what you can add in to make it look more look more interesting. It's mainly the frames of the windows that I like to emphasize a touch more. Maybe make this darker here as well. That section in between these two buildings. That way, this building can pop out a bit more. Okay, good. Darker line in between again. And again, just with some more little brush strokes for the windows with neutral tint. I just want to really get a nice, juicy, darker color for some of them, but others just leave on a bit more of a lighter value for some of them. Uh, Yep. You can see there's little bits of line work in the buildings as well. So don't forget to capture some of this stuff here and there. Okay, a little bit more details here on this other building to the left. There's some darkness there in the background as well. Why not? This is a building. Kind of, that's the side of it there. Good. Some more these ones just darken this part of that building down a touch, as well. This one here. Parts of it anyway. And then you've got, of course, this statue that I can't even really see, but, you know, it's implied in there. It doesn't need to be doesn't need to be overstated. That's fine. More people, I think would be good. Just another. You. And not forgetting the little downward sort of reflection marks, I guess, of them. You can just, as you can see, bring them out a little bit more with that extra darkness, so that really pops out of the page. But when this dries, in fact, it always dries lighter watercolors, so it's difficult to kind of anticipate what's exactly going to happen. Okay. Some more little details here for this building. I'm going to put in some windows and indications of another layer of windows here, I guess. It's a huge deal. Just something quick, little bit of white guash. And I'll mix a touch of yellow in there as well to just make it match the warmth of the light in the background. So, you know, here, maybe on the shoulders of some of these figures, like, something like that. One just this one looks better. There we go. Some little touches of highlights, I suppose, you can get them on bits and pieces, you know, on the windows, you can even bring back some of the windows, too, if you want to. So just touch on like that. Of course, it's best to leave the previous wash to show through, but this makes it more interesting at times. Get you these little areas that just pop out that you've lost before. Even little dots in places can help kind of imply some light spilling through in areas. Okay, and we are finished. 40. Day 16: House Drawing: Okay, let's get started with the drawing for this one. And we're going to just get in the ground roughly about, it's just a little slither of land at the base, okay? Just something like this. A lot of this is really just sky. Those mountains in the background, so just probably over just over an inch of space at the base or if you're in Australia, maybe about like six or 7 centimeters. Okay. And let's have a look. What do we want to do here? Well, I reckon the house is probably the best place to start. The base of the house is gonna be around about here. Okay, like that. I'll just get this kind of going down. Now, at the bottom of the house, you see there are some little you know, shapes, really. There's like a couple of these. They're actually gas canisters, I can see, little gas canisters. I'm going to put in some basic little shapes like that. There's other things here as well, which I'm not quite sure what they are, but it doesn't quite matter, Okay? It's just more just getting in that base. Now, let's get in the side of the house. We've got to be pretty careful with this to make sure it's, you know, fairly accurate. The side of the house, like here. Great. Now, the top might be a little bit too might have gone up a bit too high. That doesn't matter. We can just finish it off roughly about here. Have a look roughly about there. The house sits pretty flat as well on the ground like that. So that's the side of it. Because we don't have really much detail in here, you know, we really have to make sure that this house is fairly accurate, and I like to see this sort of triangle a bit here. I like to put in the edges of the triangle, the three points of the triangle. I mean, in order to join up the edges. Okay, so it sort of gives you a quick indication. Before I go in, some people like to use a ruler, but I really like to do this by hand most of the time because otherwise, you don't build the skills, you know, in the case that you may not have access to a ruler, you know, it might not be possible for you to get down a scene like this. So there we go. Got the roof. Well, that side of the roof, anyway, that sort of pointed bit in that left hand side of the house. Now, let's just get in this side there. And then the top of the roof, Okay. Really have to it's tricky. You've got to make this quite accurate. I find that otherwise, There we go. Quite accurate, because that's all going to be pretty dark, behind the house, as well, you can see there is this sort of tree there, some branches and stuff sticking out to the left. You've got this kind of mountain there to the left, as well. Kind of goes up and down, disappears off the back side of the house down there, okay? Let's get this side in a little bit darker. That Okay, that's the base. I actually think there might be something closer behind. Yeah, there is a little like another secondary layer here of a shrub or a tree line in the back. And actually, under the house, it's pretty dark as well. So this joins in with all that stuff in the back, okay? And we've of course got some little details as well. On the house, there is this chimney that just goes up into the sky like that, so just kind of indicate that. There. Then, of course, you have the windows and the little features in the house like this window here. Okay? Just to make sure these lines are straight like that. And what are we house? We've got this other one down below as well here. And there's, like, a kind of white rectangular square, you know, whatever down the base there, as well, I don't know what that is. We're going to leave that. There. This window here is pretty important because it's got the reflected light from the sky. So let's draw this in. And, of course, there's actually all these little details in there. I reckon we'll do that later on. But I can just sort of sketch in maybe some of the lines of the window frames that will get me started. And this one here to the right, also, it sort of goes up a bit higher and just comes down. A little bit lower than that first window to the left. And this is darker inside, so you've kind of got some like a lighter sort of frame, and the inside's dark. There's all these lines as well on the house, but we don't have to worry about that yet. Now there is a little porch out the right hand side here. You can see it's like a wooden porch, and then you've got some stairs or something just sort of coming down. It's just a silhouette of them, and then you've kind of got some more that just run as you can see run down to the right hand side like that. Okay. There is also some sort of, you know what? I should have drawn this out a little bit more. And actually, this comes out a little bit further like that. Let's redo this line. I didn't quite see that. It does come out a bit further. So it's good to find these sort of things in the beginning. Yep, there we are. And then this makes more sense now this bit of bit of the roof, the support system on the right hand side of the roof spa. Okay, so I'm going to get in this silhouette of this mountain here so you can see it sort of going up. And where does it finish? Roughly just above this section of the roof, like there maybe. Good. And then, of course, we have some of these poles. There's a pole here. An electricity pole or something there. And we've got one to the right hand side as well, and goes up past those mountains, too. It's a bit taller. I'm assuming it's also closer to us. Bits and pieces. All the lines, power lines and things we will get in after. I mean, really, there's actually a few bits and pieces here. There's like a tree here. And then there's also like a bench or something. Here, it's so hard to see, but there is a bench of some sort here. You know, some other shape here. I think this is like a chair or something. You can just see it. Something like that. Okay. It's not a big deal. So we are ready to get started on the painting. 41. Day 16: House Painting: Alright, so for the sky, what I want to do is basically to work on a nice kind of pinkish color. So I've got some red here. Plus, I've got a bit of Indian yellow, Indian yellow and red. I just want to make a really light, pinkish sort of sky. And I actually going to need more of this color. I'll just mix up a fair bit of this on the palette here. Let's just keep going. So we've got kind of a nice kind of goldenish color. Maybe some orange in there as well would be nice. I've got a bit of other orange. Okay? But it's mostly just pink, which is diluted red. Let's go ahead up the top. I also like to sometimes put in a bit of neutral tint to just This is pains gray or neutral tint to soften this down a little bit, so it's not all the same, not too vibrant. So drop that in. Let's just go for it. So just to kind of warmer color there in the sky, I'm going to drag this down. I don't want it to be too obvious. I've got the brush kind of angled the paper angled downwards as well a little bit. Okay. Make the top a little little a bit darker, maybe there. Coming down. Okay? And as I slant the paper, you can see the wash comes down a lot more evenly, okay? I'm gonna cut around those. Well, you know what? Oh, actually, that's fine. I was gonna I was just gonna go over the top of the mountains, but I think it's better if we don't. Let's cut around this house, as well. I'm going to try to do this fairly quick because there are some clouds I really want to get in. So this pink part just has to be done quick. Even if I go over part of the house here to the left, it's not a huge deal. It's more the rooftop, because the rooftop is very kind of cool in color. A bit here. Good. There we go. Okay, so that's that. Now, I'm going to mix up a bit of cerulian blue here and maybe a touch of purple. I've already got a bit of purple left on the palette anyhow, but, you know, purple and cerulan blue together. And the idea here is, I just want to get in you know, have you even got some lilac color here, that can work as well. Lilac, turquoise, cerulean blue, just to get in this kind of clouds sort of color up in the sky. It's kind of like a complimentary color almost to the oranges 'cause it's so cool. You know, let's bring some of it over more to the right. Okay. I want to let this sort of melt in nicely. Well, let's, you know, touch on, but don't overdo it. You know, there we go. This is a pretty large cloud, so I can, you know, have a bit of free reign with that, not worry. Uh, too much here. Let's get some more in here, run to the right. Okay. Great. Constantly sort of checking this as well and seeing if it's dark enough. There are just some parts that I want to darken a bit more, add a bit more contrast. So you can see just some of these clouds are a little bit darker through it, not the whole way through, but just in some areas. So I've just mixed more of that purplish color in. Um, this is the only time you can do this stuff while the paper is still wet because otherwise it's going to look too stuck on afterwards. Okay. Here is a cloud also sort of cloudl shape behind the house, like about here. We can get Oops. I've gone too far. It doesn't matter. The great thing about these clouds is that you, uh you know, they're all kind of abstract shapes at the end of the day, right? So if you don't get them in exactly as per the reference photo, and I wouldn't even recommend trying to get them in exactly as per the reference photo, it doesn't matter because as you can see, it all works out in the end, anyway. So just having a look to see what else can we sort of feather in here? I know there's a little bit of extra something in there would be good bit of extra darkness here, there. All right. So I'm gonna leave that sky. I know if I keep going into it, it's going to probably gonna cause a bit of a mess. This areas dried a bit funnier. I see if I can feather it through a bit like that. Just encourage this to blend a bit. I don't know why it dried a bit funny, but sometimes you just get that you just get that happening from place to place. Okay. Fantastic. So let's give this dry and we'll do the rest of the scene. Alright, let's get in some of the light here on the house. I'm going to use some of this yellow, a little bit of this yellow from the previous. It's kind of like Indian yellow, I guess, and I'm really diluting it down, and I'm just going to put a little bit of it here on the windows, okay? Just like that. You almost it's almost just the white of the paper. Okay. But you'll just give it a bit more of a sort of a bit more of a warmer look to it, right? So it kind of looks like maybe it's reflecting the sun off behind in the scene, okay? So that'll dry off nicely. I'm not gonna worry too much about that. Alright, so let's get in the details of the side of the house. I'm going to use the light, I mean, on the side of the house. I'm gonna use some yellow ochre. Yellow Ochre is probably the perfect color for the side and kind of like a darker yellow ochre. So I'm not mixed too much water in with it and just sort of checking the reference photo checking. I just think it needs a bit of maybe a bit of red in there or something, just to darken it down a bit further and a touch of neutral tint, maybe. Just grab a little bit of that darker color. Just have a look. Yeah, that looks about right. And I'm just going to go kind of you've got to be careful with this. But yeah, cut around the rooftop, okay? Now, if you go into the rooftop a little bit, it's not a huge deal. Okay. Remember this side of the house is still, you know, it's still sort of dark. Okay, so there's not a heap of light there, but it's still, you know, you can see it's still reflecting the light from the sky. The light source, which is kind of like in front of this whole scene. I think the big thing is to just kind of cut around this window here to the left. I really want to cut around this window. It's come down. Yeah. Again, it's not a huge deal if you end up going over to other parts of the painting, 'cause most of it's actually darker than this section anyway. I'm just trying to get this in pretty quickly, but also making sure that it's applied evenly. And there's a bit of texture in there as well. I think that's important to make sure you've got a bit of texture there with the yellows, just kind of kind of has a bit of that wooden feel to it. Well, we'll have to go over it a second time round, anyway, I think, to get in some extra, yeah, some extra little lines and things, okay? That's looking quite okay. That's looking quite okay. I'm just seeing if I can even out this line on the rooftop a bit better like that, maybe. Okay. Maybe like that. Good. Now, the left hand side of the house, we're going to do a bit later. But I reckon what I can do is put in the bottom part of the house first. This has to dry off, and then I can get a sharper, a nice sort of sharper and crisp kind of edge to all of this. Otherwise, it will look um, yeah, it will look too soft. That lime will just blend in. So actually, I think I'll just dry it off quickly. Okay, so the rooftop, we're going to get in now with some blue. I'm going to use some ultramarine blue or the roof. Okay, let's just dilute that down a little bit. And we have to be careful here, as well. It's in this area where it touches the sky, you've got to really just take extra care you've got this kind of chimney, as well, which I'll get in afterwards in a secondary wash once all this stuff is done. Yeah. Yeah, just being very, very careful to create a nice sharp edge against the sky. Good. This blue is still fairly transparent. But, yeah, it's like a mid value, I suppose. Not as dark as the mountains in the back, but getting close to it. Okay. So maybe go bits of the roof sort of coming out here. It is actually dark underneath this part of the roof a little. So I'm gonna pick up a bit of neutral tint. Gonna pop in some of it here. If I can let it just work a bit in wet on too wet, I think that might be better. Even though the scene doesn't have that, yeah, I just think it will look more more natural. Okay. Is that left side of the house. Let's bring it down here. Good. Of course, underneath the house, there's all this other stuff. You've got this like support beam or whatever near the rooftop. Then it kind of turns a bit more brownish. So I've got some brown here so we can just sort of add in some of this work, a few brushstrokes for the porch. Like that underneath. Here's the thing, you know, you've got actually some bluish same, you know, these two little gas canisters id over. They're kind of this bluish tinge to them. Same with some of this other stuff here, even, like, a kind of a bluish tinge on parts of the building. Okay. I reckon I can just start working into this left side. I'm gonna mix bit of brown into this into this yellow create myself, like a bit of maybe a little bit of ultramarine as well in there. Okay. Oh, we'll have to do all the other the windows and stuff afterwards. We'll go over the entire thing. Okay, good. Bring this all down. Here's the tricky bit where we're just gonna create a sharp edge here. Okay. I actually wasn't as hard as I thought. Just go to get it in once. Same with that left hand side. Okay, good. Cut around this little thing here, whatever it is, as well, and then you can see underneath the house, it turns pretty dark. So I can grab some of this neutral tint neutral tint, a really dark color. And I'm going to just blend this again, okay? See how I'm just letting it sort of blend above. You're not going to get that here on the right hand side, maybe through some of this stuff underneath the house. But it is pretty dark under the house, as you can see. So it's just a way for me to indicate some of this stuff. And and these gas canisters are difficult to do. But you can sort of indicate couple objects there. Okay. Underneath the house. Move all the way to the right. Here, it sort of just blends on and you've kind of got a lot of this dark darkness underneath, you know, there's a bit of other bits and pieces there, which I'll cut around and just, um, We probably use some guash afterwards anyway. It's difficult to get this stuff all in. Okay, great. So I'm gonna work now in a couple of things, I'm gonna work on the mountains here in the background, and we want to blend this nicely, as well. We don't want it to yeah, I don't want this all to kind of look too sharp. Okay? So there's two large mountain shapes. I've got a larger round brush. And for this, I'm going to grab some ultramarine blue, maybe a bit of purple, as well, ultramarine blue and purple, but more ultramarine in there, I guess, a little bit of cerulean, as well. Dilute this down a fair bit. Okay? I reckon I'll do the right hand side first, just because it's not as wet, maybe a bit more ultramarine in here. Okay. These little kind of mountains off in the back. Another thing you got are these kind of bits of the trees and stuff sort of sticking out in areas. I'm going to just feather the brush a little bit near the edges to try to create some of this effect like that. Tempted to use another brush, but this is going to be just overworking it if I do. Okay, so like that. It's a bit darker, a little bit darker there. Yep just sort of feather little bits as you can see here, just like to get these little trees that poke out the top. Some of them anyway. Okay. Good. Right. Get this in right hand side. I'm going to just bring this washed down. So more ultramarine. I'm running out of this mixture. You need a bit more come down all the way to the base like that. I'm going to need to repeat this on the left hand side as well. So you've got this kind of mountain shape coming up there, goes down and sort of touches the left side of this building a bit. Yeah, good. And, um, maybe make this a bit more jagged around the edges like that. A few of these little trees poking out the top, as well. This is kind of similar to that right hand side, okay. Now, here we've kind of got that area where we've hit the front of the scene, so where the ground is essentially. The ground is like a it's like a kind of there's a little bit of warmth in there, but there's also it's mostly still quite cool. So I think I'll start off with this a little bit of brown first, tiny bit of this brown color. Um, and then I'll just feather in some blue as we move through the scene all the way into the foreground, because, yeah, I don't want it to look completely disjointed and separate from the rest of the scene, but at the same time, I think it needs to be some extra warmth in there. I'm going to use my larger mop brush for this. Purple is always a good intermediary color as well for these type of areas. So I'm picking up a little bit of leftover purple on the palette. There's also some more to the right here. It's kind of like a slightly dull purple, granulating, Okay. It's not too cool, but it's also a little bit warmer than just using blue itself. So that's why I do like those purples. Now, again, this whole area does need to be darkened down a bit, as well. The mountains mountains off in the back here, there are some shapes in front of those mountains as well. So I'm going to depict them with a bit of again, bit of purple. Maybe here. I need a smaller brush. This is a rigor brush I've got just so that I can get in a bit more shape to some of these, you know, trees or whatever here. Like, you can just see there's some shapes, and, you know, there's some bench here or something like that, as well. See? It's not even really obvious. All right. But there's something there. And then there's also this tree here, which I need to get in wet into wet. Okay, to wet as well. Put another one here next to it, perhaps. And here, there's also something, you know, there's a closer by sort of shrub or whatever in that section. All right. And of course, we can kind of darken a bit under here. I think we've missed out a little bit of something here. Why not just dark and there's a touch. The rigs also great for these tiny little finishing touches or detailing efforts, essentially. Like that. You've goot this, like, chimney, as well. See if I can just paint this in with one go. Yeah, so I was hoping to leave that bit of white on there to get a bit of indication of the light hitting it. Just looking at that might work. Okay. This window, let's start putting in a few details as well. It's good to let your line skip over parts of it, as well. Okay. Quite a lot to paint on here, this, but that should do the trick. This right hand side window, as well. You've got it's kind of like a more warmer brown around the edges for the frame the inside's like pretty dark. I think I'll have to do that a bit later. Um, I'll have to do that a little bit later. The cross. I think the bottom one does have cross as well, like that. Left hand side, same sort of deal, kind of, like, just darker. As you can see, just these sort of darker windows here. Except I can color these in a bit with the rigor. I don't mind that it takes a bit more time to do it with a rigor to color in these windows cause it needs to be fairly accurate. This thing here, maybe just indicate the edges or something. Like that. There's something here. I don't know what that is part of the building, I guess. Yep. Okay? A little bit of the rooftop details of the rooftop running. This of the tiles, edges of the building. Just put these little indications of the wood running across really simple like this well slats of wood, I guess. I can do this one a bit faster. Cute. Some darker spots behind the house like here for these other darker trees, I guess, these kind of need to come out a bit and blend that on with the left side a touch here. It's not overdoing it, being careful. Okay. Dry brushing a bit off the top as well so that it's not overdoing it. I'm rethinking whether I want to extend this over to the right side of the house or not? Maybe. I think another one could be good up here to just again emphasize the rooftop. It's a little strategy that I use from time to time to help bring out the details. Light. We got this like power pole here. Get this coming down. But there's another one here a bit more simplified, I suppose I intended. Where's that rigor. N that rigor brush one more time. And, uh, I need you to create some of this stuff here. These power lines and drawing up in the house like this. But see how they see how they kind of leave this incomplete trail almost, like that. It looks better like that, but the brush sort of as you can see, just sort of travels off and leaves some rough marks. You can see it traveling through the left side as well here. So this is probably going to another house to the left there. Okay. Any other finishing touches? I mean, this is looking decent already. I'd be darken these, these bits. Little I reckon these windows as well, I'm going to just get them in yellow. So just a touch of little touch of yellow for this. The windows. I was going to make them completely black, but I think it would look better with some light in there. Something like that. Let me just lift off. There we go. And we are finished. 42. Day 17: Scotland Drawing: We've got all these large kind of mountains starting out to the left. But of course, we have some light on top of those mountains. So I'm going to pencil the kind of edge of the mountains, but then go down. This is like a kind of sharper drop here as well. You can see there's another bit here. Sort of this whole structure, well, these mountains anyway, they kind of end right here in the center of the page. There is another one that sort of sticks out like this. The kind of comes down, another sort of structure there. It's quite abstract. And the way, you know, I really like these sort of mountain landscapes, 'cause you can never really get it wrong. You know, let's go down here. And there's a back sort of mountain there, as well, okay? There's a lot of stuff going on in here, yeah. And we're going to let the painting do most of the or the brush, do most of the work. But you can see there's, like, a really large shape here it comes down like that there, and then you've got, like, you know, these little bits here like that as well. And then you've got this large kind of shadow that runs up this mountain almost like this. Okay. Okay. Good. You know, even this, to be honest with you, I think I'm going to just erase this shadow because it looks a little bit, a little bit too obvious. I'll just have to remember to do it afterwards. It reminds me not to overthink all this stuff. You know, you really we just have some little spots of light, and the rest of it is just, you know, darkness behind inside here, especially this whole area here is kind of quite dark. So good. And there's some darkness here, more bits here, and there's, like, a darker section there in the background as well. So 43. Day 17: Scotland Painting: So up the top, I'm going to pick up like a grayish value, maybe with some more brown in there. Up the top here, it's quite a at a menacing sort of sky at the top, really. If you think about it. Look at that. Pretty dark. I've got some gray, and it's just the combination of a few different values that I have on the pale, everything mixed together. But I have popped in a bit of brown there, too, okay? Just to add a touch of warmth inside. I'm gonna go back to my palette and mix up, like, a lighter gray now, with water. I'm really just adding water to the brush. Alright. This part I've actually still gonna make a bit darker, perhaps, like that. But everything else can just be like kind of a light gray color here, just dropping in this. And I'm cutting around some of these mountains as well. Oops. That one shouldn't be colored in, but this one here, yep, here. Okay? Just using more water. It's really as light as I can get it at the moment. Okay. And as I move down, I'm going to start picking up a bit of cerulean blue, and just of feathering in a bit of this cerulean blue, as well. Okay, so we've got a bit of these blue skies mixed with that kind of grayish. Area up the top, spray that down a little bit, encourage it to blend together. Yep, yep. Great. I'm gonna just drop in some more darkness up the top, feather that in. Yeah, that's better. Just kind of making sure it doesn't start suddenly. You've got to transition from dark down to lighter. You only get one chance to do this sort of sky stuff, and then you got to accept how it turns out. All right. So kind of on top of these mountains, you can actually see there's a bit of green there, so that sort of permeates through the entire scene. I'm going to what I'll do it just firstly let's just dry all this stuff off. So we've got that sky all dried off now. So again, we just want to make sure that we have all the light further down below. So it's really just green. If you look at the tops of these mountains, check this out. It's really just a really light wash of green that hits the sky. I'm trying not to actually go too far into the sky just so that it clips the edges really like that for this top section anyway. Then you've got this bit here. More yellow, just a bit more yellow to make it lighter and more kind of vibrant. It's really this whole area there, okay? There. And, you know, the rest of it's sort of brownish, which will drop in in a moment. But here, we've got more green running down the side here and this side of this rock as well, like that. There's so much. So much of it. It just depends what type of green. Some parts are darker so you can pick up a bit of darker green and add it in to areas, especially out this side there. It's sort of darker. The greens out the back here, but you've still got sections of really lighter green, which I'm going to imply as well. But you've got to have these two kind of mixed together. So you've got both yeah, both sort of light and dark areas. And these sort of tips, as you can see, they stand out really against the background and brownish, actually, I'm going to put in some brown here. Just some brown ochre, brown ochre and some black parts. All right. Just sort of get it to come out of the sky a bit. There we go. These ones on the right. This part here also needs to be darker, more of this black. You can use lamp black as well when you mix it in, and it's going to help with this granulation effect. So you can see it sort of just gone through like that. There. And then you've got this sort of area as well, which I'm going to add some more brown, I think some yellow ochre on the side of this one's going to be good, too. It's not really that dark. This side of this rock. It's kind of like that. Then the other parts of it actually got darker. Oops. Here we go. Brown, more of this brown ochre. Okay, you just want to really make this blend together here as well. That sort of part of the cliff face or whatever blends downwards. Okay, good. Let's work more on the left hand side now. Again, dropping in some more of this black paint and brown brown ochre. And it's important to make sure it mixes in with the green. So if you don't have enough green, there should be quite a lot here, make sure you go in, pick up a bit and paint this left side in here. Okay. Even around here, this should be a lot lighter as well. It's like a yellowish green, lighter green. That all this stuff down the bottom. I'm going to add in some of this black. It's like a lamp black or lunar black as well to try to get in some more these granulating effects, especially with the shadows and stuff here as well. But we do need to do this bit as well. This left hand side of the mountains. There is just a lot of this stuff running down through it. Black and brown ochre both granulating colors. If you don't have granulating cutters, it's not a big deal. You can still get away with this effect that's just not going to work as well. Okay? I think the trick is, I just sort of touch on and then go, just sort of touch and go, really, because you have to sort of leave parts of the paint to dry off and then continue on and mix it along with the previous washers, kind of blend it along with the previous washers. So it's important to let it do its thing. Here, I'm going to add in more of this black as well on the left side. I had a streak here. I didn't want that, but we can just work that through. It's no big deal. This is actually going to be part of this larger shape here, this rock, as you can see, it's just it's quite dark in the foreground. Okay, let's just drop in some more of this lamp black, and this is going to create this sort of granulating effect here, hopefully for the these sort of foreground rocks. As you blend in with the moss, the grass and the moss that just together, it I sort of looks better, paints itself, really, makes it look like little rocks and things, okay? Once it actually spreads out, it doesn't look as dark as it is when you first apply it. Okay? You need to darken again here. This area needs also febutive. That should be darker there, perhaps. Okay. Really trying to locate areas of the painting that is considerably darker like here. It's like a fair bit darker there and just dropping in that black paint like that. Here, I think it's actually darker, some parts as well, like that. There's like a shadow here running behind. That just sort of runs sort of cast by this shape, another rock shape. You got to drop some of this stuff in so that it looks more more interesting. Okay, here down at the base. I want to get this rock in there. Drop it in. And also at the same time, just trying to work in some of these background details. You've got to do all this while the paint is wet. Otherwise, it doesn't work. You have to really plan this out. But at the same time, there's only so much planning you can do. This rock here is a shadow that runs up the mountain. And then you've got kind of, like, these little striations that just run through the mountain like that as well, and some of them just go up there and some of them just go further down like that. See? Follow the Yep. Okay, so I'm just getting this rock, the side of the rock there that's in darkness. And then you've also got to remember that there is a shadow that runs all the way behind it there. I was drawing in before, but decided there's no point we can just get it in by painting like this. The edge of the rock is not this just needs to be put in more There we go. Just so that it looks identifies more like a rock. Okay, good. Darken a bit more around there as well. I really want to use more of this black paint and the brown paint, okay? And we're figuring out just the parts that are darkest, especially on the sides of these rocks here. Um, Just before I go in with some water because I think we're going to need some water to create some interesting little effects in here, that will imply detail. I mean, it's already granulating quite well anyhow, but it's more of a additional effect once I use the spray bottle. Here, there's all these little details of the See that all these tiny little details in here. Make that darker darker here still. Base is always looks better. We add more darkness. Great. Just implying some of the smaller rocks running towards the back like this as well. Okay. Can I just do a bit of spray work? Up here, hopefully just encourage this stuff to move down the page a bit. Okay. And it might backfire on me, but I just want to create some interesting looking extriations maybe running through the rocks. And again, you know, I might have to redo some parts of it while it's being while that's happening. So stuff down the base here is, like, moving around a little bit. Well, really got to be careful not to eliminate all that light, too. Um, yeah, this should be a large shadow here running towards the back for that rock. Again, this is the bit of brown and bit of the black. I'm just re jigging this area that I went through and sprayed because it's moved that paint a little bit. Hey. Mop this bit up where it's gone into the sky. There. Not a big deal. So you can see the paint's just granulating and moving around a fair bit. I can also sort of flick water onto certain areas and just let it do something as well. Need this shadow. See how it sort of comes through, makes it kind of look more rocky, a little bit there in the background, this sort of area mottled kind of effect there. Still somehow managed to preserve the light in that rock, which is what we really want. Stuff here, it's not a big deal. I just want to maybe give it a quick spray like that. So that it blends better? Final little spots. Maybe some purplish color as well like this in here, just a little bit for the shadow area. Some of the rocks, create a bit of interesting coolness running through here as well. I'm laying the paper completely flat now so that the water doesn't really run any further. Two we'll let the water run a little bit. Through Yeah. I just want to soften this bit here, touch. Yeah. That's better. Yeah. I've got the pocket knife. I might be able to scratch off some bits while it's drying. Yep. I'm just trying to get rid of a bit of this color on the rocks. As you can see here on the cliffs, there's, like, these little lighter bits that we can imply with some scratching off work that kind of makes it look a bit more interesting. 44. Day 18: Kirkjufell Drawing: Let's get started with the drawing for this scene. And firstly, what I want to do is just put sort of this area where the sky touches the ground, so you can see the sky a little bit about a third of the way through the top of the scene. So if you divide the scene into three bits, just go to start maybe penciling in around here. And also keep in mind, you can put in more sky if you want. I mean, actually, there's quite a quite a lot of room here. And the front of the scene although there is some grass and stuff like that, you know, you may want to include less of it. So I'm actually trying to might put in a bit more of the sky because I quite like that. There's a road that runs all the way down here to the right. Okay, finishes a little bit more further down like that. Okay. Now we're going to get in the mountain. The mountain starts roughly in the center of the scene. So just put a dot down the center of the scene like that. And then we're going to go up. I'm also going to put in the general point of where the top of the mountain is, like, about here, and then the right side of the mountain here. Okay, so then I can slowly fill in the gaps, okay? And at least I know that the height of the mountain will be roughly accurate rather than waiting to get all the way up there and then realizing I've not left enough space for the top of the page. So yeah, this mountain has quite a unique shape. It's not a complete sort of point at the top, but yeah, there's some little jagged edges, that kind of thing. So I'm just trying to imply a bit of that, it starts off kind of like a slight incline, and then you've got this bit that just sort of goes up here, let's join this up like that. Something like that. All right. That's good. And on the right hand side of the mountain, let's bring this down. Like that. Another bit that sort of juts out, comes. You know, it's not all just completely up and down. Bits that jut out. Okay? So run that down to the right hand side, and you can see here also, there's, like, another bit that sort of juts out there, and then it runs down and disappears along to the right hand side of the scene. There are some distant mountains here as well, pencil in a bit of little something there in the back of the scene. Okay. Good. Then this road, as you can see, sort of comes in roughly here, and then it runs out to the right hand side of the scene. So just indicate something like that. Now, of course, on the mountains, you've got all these little funny ridges, these darker ridges, which we just have to take a note of mentally, but don't draw them in because, yeah, it's just going to take too long. You don't need to do that for the painting. Now, over here, this is where things get a little bit tricky. We've got a tuft of grass to the left hand side, and then underneath it's just kind of these rocks, you know, these jagged sort of rocks coming down. So it's sort of just making sure that you've got these tufts, these indications of these tufts of grass that we're going to leave green, like a lighter sort of green. And also, there is a bridge here, and that runs across like that. There's a guy walking across this bridge that seems to go all the way to the left hand side of the scene. Alright? So just pencil this in roughly like that. You know, it doesn't have to be perfect, something to indicate a little bridge there. You've also got some people walking in the distance here behind these mountains, and I'm just going to indicate their heads and their little tiny little heads and little shoulders and maybe some legs. You know, this is a going to indicate the scale of what we're looking at, you know, these figures are just serving that purpose. I don't want to be spending all day on this, but just, you know, putting in a few little figures here, space them apart in random sort of ways as well. Don't have them spaced apart exactly, you know? And there's actually a few more tiny little people just here in the distance. I don't want to even I barely even want to imply them, but there are some like right in the distance there like that. It's just tiny. Okay, so here we have this kind of pool of water that the that's collecting up here, where this little waterfall starts to come down. Now, with the waterfall, you want to make sure that you're preserving, like, a lot of this white color for later. Okay. You can, of course, get it in with some guash, but it's best to just leave it. And I'm just putting in here, you can see just some little, you know, impressions of the water streaming downwards like that, right? There's moss in here, that kind of thing. Don't worry about that. A lot of this stuff you can get in afterwards with the watercolor. You're going to need to let things mix together in this particular scene. You can't paint in every little rock, every little splash, you know. So this is kind of you see the bottom of the waterfall, there are these kind of roundish areas of white where the water sort of hits the hits the darker water, right? The rest of it is just sort of dark. It's just rocks all around. There's moss, okay, like that. And there's a smaller little tiny, little, what do you call it, waterfall here that's just popping out at the right hand side there. So I'm going to just indicate that. So underneath this group of people, look, it just sort of spurts out the side of the rock like that, and then it hits the water here in the same sort of roundish sort of area on the ground, okay? And on top of the waterfall, this area is just you can see these sort of green mounds of where people are walking. So it's kind of important to imply that. There's a lot of green all along there, again. And I'm just going to draw now the boundary of where the water is. So you want to obviously indicate the top this sort of greenish mound and grass moss up the top. But then you also want to outline where this pool is pool of water body of water is below. So let's go around. Again, it's just generally outlining where things are. You don't want to draw in every rock. It's just where the grass is. Okay? There we go. It's just a little outline. The rest of it we can get in, in the middle of all this water, you can see there's this kind of bit of land here that's, you know, this would have been part of the land, you know, behind it, but it looks like it's been eroded away. So it's kind of looks like a little island or something in the middle of this stream or river. So let's get that in, okay? Just a little indication of it like that. Bring it over to the right hand side. There's some snow on there as well. Whether I'm gonna bother with that, we'll see. And, of course, we've got all these little rocks and stuff around. You can put in a few larger ones. On the right hand side, you've got this larger mass of rocks, which I'm just going to indicate with, you know, a bit of scribble here to remind myself that there are some here, some rocks here. There's a bit of white water as well or maybe snow that's sort of there. Alright, so let's start putting in the foreground. We know that it comes in here, the grassy sort of stuff in the foreground. This is going to be important because this is forming a contrast of a bit of light in front of this in front of this stream. So just sort of draw the outline of it like this. Go up. You know, it doesn't have to be perfect, just so that you've got a foreground, you've got a midground, and you've got the good old background there. So let's have a little step back and assess what we have. Now, I noticed there's a few little rocks or mossy areas here to the left. I'll just want to indicate lightly in pencil, you know, you know, a few rocks here and there. These sort of areas they're like, sort of snowy jagged areas of rocks down at the base here. Let's just indicate some of that. Again, it's more of a guide for me, more of a guide. And also this part here, I have to remind myself that this is elevated land out in the back. So Yep. Is little kind of trails and roads running through that kind of thing. Good. Let's go ahead now and get started on the painting. 45. Day 18: Kirkjufell Painting: Planning this out is a little bit tricky because firstly, we have this nice, you know, bright sort of sky. The mountain also has if you look at it, it has a really light contrast of light hitting the top of the mountain, the mid to the top of the mountain. So keeping that in mind, but the rest of the mountain is a little bit darker, okay? So really, we want to make sure the sky is the lightest part of the scene. And when we get in the mountain, we get in all the, you know, the grass and everything like that, that's going to be darker and sharper and it's gonna sort of show through. So yeah, the only way we are going to be able to do this is by just starting off with the sky first. And let's first go ahead and get in a bit of blue. So might actually start off with a little bit of gray color. So a little bit of gray on the palette. You just mix up whatever you have whatever color that you have leftover. Your three primaries can produce a very nice sort of grayish value as well. Very, very light. You're talking about it's about 5% paint, if anything. And I'm just going to drop this in here into some parts of the sky. You know, you can see here there's a bit of this grayish value kind of goes up, sort of fluffy, gray. Okay? Look, just join this on and make these sort of little bits of grayish color there in the sky. And don't make it too dark. So that was way too dark. You want to just keep it about 5% paint. About 5% paint. And this is going to go near to the mountain, very, very close to the mountain like that. Down below here, let's bring this across. More Oops, see, too dark, again, way too dark, doesn't matter. Alright. I'm doing this so that once we go in with the blues, the blues are going to be if you look at the actual value, the blue is actually darker than the grays up in the sky. So we want to preserve some of these sort of grayish arrows. You bring them down further to the here as well. If you're going to make some of these clouds a little bit smaller. As we move down the page, they kind of become smaller and thinner as well. Don't worry about the people. Go over the top of those people if you need to, okay? And let's have a look. These clouds, of course, continue a little bit to the right and behind the mountain, as well. Remember to keep it very light, see? When I've accidentally mixed up maybe a bit too much paint, I will, you know, I actually add more water to dull it down. Okay, run to the right. This here to the right. Good. And don't be afraid to leave some of that white on the paper as well. At the end of the day, these clouds are composed of, you know, gray, bits of white, that kind of thing. I do also like to re wet the paper a little bit afterwards, but be careful not to go into the mountain area. Alright, so that's, you know, your general sort of grayish clouds in the background. This is going to start drying a little bit, which is good. But while it's still wet, we're going to pick up some cerulean blue, just a light blue that we've got here. Let me mix up a little bit of this here. And we're going to start off right on the top of the scene, and I'm actually going to make the top a little bit darker. Tilt the paper just a little bit like this and we're going to add the blue to the top there. Where you've got this gray, I'll just nip the edges of it like that. Just going to nip the edges a little bit and let it blend through. Let the blue kind of blend through. So therefore, you have a kind of mixture of blue and a bit of grayish color, okay? So I'm going to move down the page, continuing to move down the page. As I move down the page, what I'm doing with this blue is that I'm just adding a bit more water. A little bit more water so that we've got lighter sort of blues, you know, at the top. I keep it touch darker. Okay. Lighter as we move down. And this can be challenging because it can mix with the grays, and then you might lose the coolness of that blue. And so you have to reload from time to time and put in a bit more, you know, tiny bit more of that cerulean in there to get it to mix. But you're filling in all the bits of white with the blue. Little bits of white with the blue. And, you can leave a little, you know, tiny bits of white for the clouds. I think I'm just for the most part, will color them in. Right. You do this fairly quickly as well. I don't want to spend too much time on this. Okay, especially down the bottom, you know, look just a touch of that blue to fill in those sections. And if you've done this quick enough, the blue will mix with the grays and it will create a kind of nice little contrast they're not going to be as sharp as the reference photo, but I don't want them to be that sharp. That's more of a stylistic choice. If you want the clouds to stand out, the kind of grayish cloud to stand out more. All you need to do is just simply wait for a bit longer, and then start putting in the blue. But for this particular scene, I kind of want all the clouds to blend a bit together, but still have some contrast of the blue in there, the lighter blue with those clouds. So good. So bring this all down to the base roughly about here, and that should be skywhPretty much done. And you can also add in a bit more blue in areas like here, for example, I did notice this area just looks a bit too, like, stark, so I can drop in a bit darker blue, bit more of that cerulean here in areas to again bring out the contrast of some of these clouds. Okay? Again, like this, keep it very light like this. There we are. Try to bring out this shape of the larger cloud better. While everything is still wet, you have a lot of leeway to alter what's on the page. When it starts to dry off, then it becomes very difficult to do this type of thing without, without mucking it up. Okay. Good. Sort of having a look down below, perhaps a little bit of blue down below is going to be better, as well, a little bit here. Alright. That's it. So I'm going to leave this to dry a little bit. But we can also speed it up with the hair dryer. Okay, so moving on to the next part of the scene, we're going to do this pretty much all in one big go, okay? So we're talking about all these bits of green. We were talking about the mountains, except for the really dark bits, okay? So let's mix up, and I've got a mop brush here. I'm going to mix up a little bit of ultramarine blue. And I have some granulating black here as well, which I'm going to drop in. You don't have to use anything like that. I just this is more of a stylistic choice. I'm going to drop in a little bit of this blue ink here. Now, the sky is actually you can see it's kind of a bluish gray, but the mountain has, I would say, kind of like a cooler gray color in the shadow, so you can see that running through the top, okay, as well as the bottom of the mountain. And it's a soft kind of soft sort of shadow, as well, which I'll have to try to, you know, even out once we're done. I'm going to test this out. Let's test this out here. How does that look? It looks okay. Looks okay. I'm gonna continue on. This is like, again, just a bit of that darker value on the bottom of the mountain, okay? And remember to leave that light hitting the left side of the mountain and then kind of carrying up to the right hand side of the mountain. Okay? So just go in and drop it in like that. It doesn't have to be perfect because we can soften off that area in a moment. But this whole area needs to be a little bit darker. Okay. Down here, the right hand side, this little bit of the mountain that juts out on the right hand side as well, and kind of darken as you need to as it goes through. Top of the mountain, same thing as well. I'm using the same sort of cooler gray value. I've gone down a little bit too far actually there. That doesn't matter. Just try to get in the silhouette of the mountain, okay? I know there's a lot of other details in there, but let's not worry about any of those other details just yet. We want to just make sure we've got this top part of the mountain in, this sort of mid value. And I'm holding the brush very far down to the top. This allows me to get in a bit more control here. Don't normally like holding my brush up this high, but it just allows me to, yeah, get in a little bit more accuracy. Okay? Now, where the edges of the mountain are, I'm going to drop in a little bit of water here and just allow that to blend a bit like this, right? Might do it to the bottom bit first. Just tap the edge of it and just that's all you need to do, sort of tap the edge of it, and this paint should sort of spread a little bit upwards, and, you know, we can imply that little bit of light in there. Don't touch it too much. Just add the water onto the edge like that and simply move on. I'm already kind of overdoing it personally, but it doesn't, just a little bit like that. Okay? Therefore, you get a kind of a softer blend from the from all these sort of darker bits up the top and further down. Okay. Good. All these granulating paints have really helped this granulating color, as you can see, it sort of looks like a bit of potential mountainous rockiness and things like that. So I don't want this area down the bottom to completely dry off. Let me just start to just add more water here again. I try to let this one stay there for too long. It's tricky because you have to just keep this line at the bottom alive. You keep it alive so that we can bring this wash down the page. Now, coming over to the right hand side, we're starting to see some greens in this scene. So I've got a bit of green here. And I'm going to drop this in. It's a very light green. You can also add in a bit of yellow. I've got some little bit of yellow ochre as well. I don't want to make this too vibrant, but I'm mixing up a nice kind of wash of this yellow ochre and a darker green, right? And this whole area, as you can see, runs across down the page like this and to the right. In the background, in fact, there is a kind of mountain in the distance. I'll get that in later. The trick is to blend this green in with all this other stuff up the top. Like that. Keeping in mind, there's also a bit of, like, this white in there as well for the for the snow. So, you know, in parts of the scene, I'm just kind of leaving off a bit of a white of the paper to kind of show through. Okay, let's bring this all across there to the left. You know, this is that sort of tuft of grass that we'd painted in before to the left. So let's do that. Let's get that in little tuft of grass. There, okay, a little tuft of grass and name here on top here. Maybe a little bit of this yellow to drop in as well, keep it a bit more, you know, lighter. You know, roundabout here is where you've got all that water. So you've got to make sure you keep some of this stuff white, very careful here. So this is where, you know, all that work that we did before comes in handy. So let's drop in the bits of this green running through and remembering to cut, not to touch the white of some of these areas. And there's also there's also, if you look through it, there's areas of brown and stuff like that. So I'm also going to leave the paper leave a bit of the paper there for the white and the browns. Okay, let's bring this through these little streams of water. We're just cutting around the streams. Leaving the streams white. Let's have a look on this left side. There's some more here as well. So let's again, just cut around some of these streams of white like that. And the way I'm painting as well, see, I'm just very, very sporadically kind of going around and cutting around this stuff. Now, this here kind of has sort of a look. Kind of overdone it with this waterfall. Eventhough, there's a lot of stuff coming off here, there, but, you know, it doesn't matter. No big deal. Up the top, I will continue on to add some blues and things later. But I'm going to just quickly see this area started to dry. We don't want this to dry. I'm just going to quickly add in some more paint here on the right hand side. It's a pretty I fels a little bit warm today in Melbourne. So some of this stuff is actually this paint is drying a lot faster than I had anticipated it to, which is making me work a bit faster, okay? And here underneath, we've got a bit of this green swell. Good down here. You're just bringing this green down the page, all the way down the page. And where it sort of hits this water now bit of the green here on the bit of the green here on this little island in the center. We're just remembering. We're just trying to get in a little bit of the light running through. Okay? We're not really putting in any of the details just yet. Now, I've got some brown that I can drop in a bit of brown, little bit of tiny bit of this brownish paint. And this is good because it's not just as you can see, it's not just all of this, you know, green. There's actually some browns and some grayish paint as well, which I can drop in kind of brownish, grayish paint that I'm going to add in for these rocks, Okay, a little bit of these rocks and drop them in like that. Okay? While keeping the greens. Okay, it's dark around here, that maybe some more gray paint. Bit more of a darker gray paint like this. There we go. That's better. This has to be in here as well, bit of this darker value in there. And also, while the paint is wet, it's, like, the best time to go in and do this type of stuff because you want it to just show through but not uh take up too much real estate in here. I'm not looking really at what I'm painting. This is kind of something strange to say, but I'm looking more at the looking more at the value, whether something is light or dark, There's some real, real dark bits in here that I need to put in as well. I don't have to make it like the reference, but just, you know, enough to make sure there is some changes in there. I also like to use this. I go to a little spray bottle. I'll spray some parts here, cover those mountains, give this a spray. This will keep the area kind of wet to give me a bit more time. And encourage some of this paint to sort of spread upwards as well. You got this looks like that bridge as well up the top. Why not just start putting in a little bit of that? I've got a bit of black paint here. Drop in a bit of this detail for the fence. The and so far, I've painted all of this with just one brush, if you think about it, there's really not much Let's put in these little handrails there, like that. Just using the tip of the brush to indicate that. Tip of the brush there. Et's have a look at the right hand side. Now we've got sort of here on the edge of the water, this kind of darker ridge. We've got also some darker sort of lines running to the right hand side. So just dropping in a bit of this paint here to indicate these sort of roads. There's a road there running like that. There's some little bits of the mountain, as you see here, that seem to be also, you know, slightly darker, so I can drop in a bit of paint imply some of this stuff. Use your arm and just sort of try to get in a few little marks like that. And this will you know, a lot of this stuff will kind of fade off a bit afterwards as well. Dropping a touch of purple in here, too, because these roads have a little bit of a coolness to them. Alright? Look at that. There's just they're just tracks or something. I don't even know. There's I guess places where people live walked, that kind of thing. Alright, so here we are. We're at this point where we are starting to now put in, you know, these little middle midground areas here. So remember, we're just adding in little bits of these sort of darker parts. But they're more mid values. The real dark values, I'll add in later, but you can see here I'm just emphasizing this edge of this edge of where the green area touches the water. And there's browns in here. I'm not even really looking at the reference. I'm just looking at how light and dark things are. Right? All this stuff, even, I probably have to redo a lot of this on the left afterwards in another wash. It's just it looks a bit too what do you call it? Yeah, it just looks a little bit too abstract at the moment. Okay? Now, here is this sort of pool of water at the base, and I'm going to start adding in some blues. So I've got a bit of blue, got a bit of purple and blue and a bit of darker black. And I'm going to just get in this area here where the water hits the um, what were the these little spouts of water sort of hit the bottom here with a big pool, and cutting around like that, okay? Leaving it all kind of white. Alright. Bit more blue, if you think that it's not cool enough, like, especially down the base here. I'm gonna add in a bit more blue. Okay, a bit more here. There really should be some extra greens on this left side, to be honest, to the left. Some greens on these, like, tufts of grass and stuff here. I'm just going to put in a bit of this greenish value inside. More this blue. And I also like to swap over sometimes to a little not a little but, like, a larger round brush. If there's areas that I need to re emphasize. This area here, you know, this could do with a bit of grayish color or something. It just is what it is, okay? A little bit of grayish area for all these rocks and things. But I've let that edge dry a little bit so that uh, there's a bit more sharpness running through here as well. So here we go, just continuing down the page. Of course, you've got some of this white water here as well, or whatever it is, it could just be, um you know, it could just be a bit of snow. But you just letting the brush skip over parts of the paper and also adding in some blue in here, too, a little bit of ultramarine blue in this sort of section. So it's not just completely, you know, completely blue. There's some darker bits there, as well, Just skipping your brush over the page, leaving some of that there. It could be light. Could be just a bit of that white water. Doesn't matter. But we do have to make sure that all this water here is pretty dark. So make sure you know, if it's not dark enough, go back in there and add in that darkness while the paper is still wet. Of course, you've got the magic tool, which is this little spray bottle. Absolutely, a lifesaver to just keep things alive for a bit. So you can see, it's not just blue. There's some darker values, some blacks. There's some grays. But for the most part, you know, I would say that it's mostly a lot of cooler values in here, even some purples, too. And this is important because you also want to make sure that this area it sticks out and it looks like it looks like water. Looks like slightly darker water. So um, yeah. Now, these areas on the left hand side of these sort of green rocks rocky sort of areas have started to dry. So I can put in some blue now, and hopefully this won't really mix too far into the green. So I can really just sort of keep some of those greeny rocks. I really like those rocks there and also add in some darker, like, kind of black values in there as well, further moving further up. I've got some lamp black, which I will drop in here as well. This will granulate nicely. Okay. The longer you wait for the paper to dry, the more the more sharp, those marks will show through. So I'll just have to re wet that section a little bit to encourage this to blend a bit. These little striations on the rock as well. You notice they kind of, you know, little tiny striations like that. I want to imply that. And then, you know, wear these sort of tufts of grass up here as well. There it's a little bit darker before it sort of turns into those tufts of grass. I think I'll soften the top bit off afterwards. I've let that dry, but I would have preferred if that was actually a bit more a bit softer. Continuing down the page. Let's again put in more of this blue, and I'm noticing it's not dark enough here. I need to go darker because when this dries, it's going to look way too light. So more of this ultramarine, there's a bit of purple there as well. You know, it actually goes all the way down here. This is where I drew that guiding line, I guess, down at the base where everything finishes off. So that's got a bit crazy with this ultramarine blue, right, like that. As long as you don't make the whole thing really, really vibrant blue, it's going to look better. Funny enough, the blue stands out more when you use it in certain spots. Otherwise, there's no area for the eye the mind to make a comparison with. There we go. And what have we got down the base here? Starting to, you know, hit this area of grass in the front. So here we are again at this point where maybe put in a couple of these rocks. There. We've got some brown as well, it's dropping a bit of brownish color for these rocks here. Notice how I'm just doing this all in one wash because we're not done yet. It's, you know, the finishing touches, we're going to bring back all the little details. Okay, so moving down to the front of the page, all this stuff should be starting to dry now, and this is a good time to add in a bit of green. So I'm mixing up a bit of light green, dropping this in at the front. I might use this larger brush. It's gonna be quicker, a bit more yellow in here to keep it, I guess, a touch brighter. And I'm going to keep this encourage this to blend in a bit with the water. But still, I still have enough of a have a contrast there. So that's why you want to leave that previous wash of the water there to just dry a little bit before you do this. Otherwise, all that blue is just going to run down the page. Okay? So we've done this whole sort of thing. We've painted from the top to the bottom. Should have this main area at the bottom in now. Of course, there's a bit of snow here. Let's just, you know, you can leave a bit of white on the page. I've forgotten all about the snow. So a little bit of that you can leave in if you want. I should have left more in up the top, actually, but it doesn't matter. There's also things you can do like lift off with a bit of tissue, that there. But in terms of sharper bits of snow, you'd want to do this sort of thing. We just skip the brush over the paper. Okay. You do also have some darker values. You've got some brown and kind of warmer colored rocks, which I will drop some darker value in here here and there. It's not much, but just a small little specks of something here with some darker paint. Otherwise, this whole area at the front is gonna look too sort of stark and, um, stick out too much. So yeah, this is a good idea, I think. Just drop in some little bits and pieces here. I mean, there's something here. I don't even know what that is. It's like a mound of something there. Okay. So we've got some texture in the foreground, a little bit of texture in the foreground. Good. 46. Day 18: Kirkjufell Finishing: This was the area that I was a little bit concerned with. I want to just get this to blend upwards a bit here and pick up a smaller brush to do this bit of water and just rub onto this sort of little edge like that, encourage it to blend upwards or touch. Like this. There, here, there's a little bit of I think I just blend a little bit of this area here as well, upwards. Just anywhere where I see maybe a contrast that is too much too harsh, I want to do this. Alright so that blends a bit better. Another thing you can do, as well at this point is just, you know, pick up a bit of paint and then flick it onto the page as well. I do think that still the water in the background is just not dark enough for my liking. There's some parts here that I want to really emphasize and drop in. So going back into this water, and we're at the stage of the painting where we are putting in the final dark bits and pieces, yeah. The final dark bits and pieces. So dropping in those little sections that kind of make the painting come out and create extra contrast. You know, there's like a rock here. I don't even have an interest of implying it with that much detail, a little something here. There's a rock above there. In fact, that rock is more like a darker black shape, so I'll drop a bit of this color in a bit of lamp not lamp black, but lunar black, which is Mars black. Just another name for Mars Black, here, here, you know, I'm looking around the reference photo and thinking to myself, you know, where are the darker bits we are the final dark finishing touches, give it a spray as well to bring it back alive again and just sort of continue on. Of course, there's a lot of this area that's already almost dried, but I can go in one more time and start to just put in touch of this darker detail here and there, near to the edge of the water. Here there's a little bit of again, a little edge here. There are these rocks and things that have, you know, a bit of darkness to the left of them. So I'm going to just imply some of this. And this is too I just want to rewet that because it just looks too much for the time being. Again, drop that in to the left to indicate some of these rocks. Bit of this black to the left of these rocks and areas like that. Underneath the Hopefully, this will granulate out nicely. The bit underneath here as well. I've lost some of that snow from the base, but a bit of guash afterwards will bring that back. No problem at all. I do notice there's again, some black sort of rocks or darkness here. I can drop that in. You know, you're just building up the detail of this painting by very, very slowly adding in some wet on wet details. You know, here, I've noticed also some sharpness would be nice. It's attempting to just rewet this whole part, but I do think a bit of extra sharpness and detailing for I don't know, these areas of these rocky areas here would be good. So I'm just picking up this dark value, dropping it in. This is also going to create a bit more sharpness when comparing it to the stuff in the front of the scene, all these rocks and things here. So just dropping this in, of course. And this water is actually a bit darker around there as well. So, look, I'm just dropping in a bit bit more extra paint there. So you sometimes it can be difficult to explain exactly what I'm doing. But in essence, I'm looking at the reference photo and I'm thinking to myself, well, what's light? And where's the light? Where's the dark? Let's try to Let's try to emphasize that. This fountain here like, very not fountain. The um this little waterfall is tricky because there's also, you can see, darker bits running through it. I'm going to just try to add in a little bit of color through some parts of it so that it's not just all white. Dry brush this through. Some spots dry brush part of that through like that. Here. It's not just completely white in there. A lot of this stuff, I think later, I'm going to go in with Gilbert brush and just soften off the edges. It looks too sharp at the moment. But if I try to go too much into it now, it's going to I think it's going to ruin it. So yeah, this is just the base, as you can see. I need to make sure there are some extra darks around here, the rocks and things at the base. Just sort of entering putting in a few more little bits and pieces, details. Yeah. Something running across here as well. I don't know what that is another bit of something because we want to just make sure that all this stuff here looks the way we want it to look before we kind of let it dry off. Now, even here, I've noticed this bit of the water, again, is just not dark enough for my liking, so I'm going to just readjust it, readjust some parts. You know, there's a rock here. I'm going to leave that rock. You know, that could be another rock. I've just, you know, decided that's another rock. We're going to bring this across again. So yeah, mix this paint around a bit more. 'cause it's all wet and too wet, this paint should just spread but, yeah, I want the main this big sort of contrast between the water and the front of the scene. Alright, let's give this a little dry. Okay, so I've mostly dried this off, but I've left the paper slightly, you know, slightly damp. Sometimes I find that just helps to keep the final brush stroke. So a little bit softer. Now, the first thing I want to do is go into the mountains. Now, the mountains is what we've kind of left all the way to the end. And you can see that there are these little striations in the mountains that just come through, and this has to all be done. Wet on to dry. So I've got a bit of brown and a bit of black, essentially, a bit of brown and a bit of black. Doesn't matter exactly what color as long as you just got a darker value here. And most of this is just paint. It's probably like 20% water. Let's go up the top. Let's start here. I want to just test this out a little bit first. And a flat brush works very well for this because it allows you to create these sharp lines that kind of match already with the sort of as you can see, these little striations. So I'm going to go across, and let's just try to mimic these sharp lines. On the top of the mountains. So there you can see, they kind of come across almost like diagonally like this. Whoops. I've stuffed that one a little bit. That doesn't matter. Look, at the end of the day, in the day, it's just an indication of what we have. So let's not get to a fuss like that. There's more another line running across like that. You know, these little there's a couple of them that are just, you know, they start midway through. I like to also use see how I just drag the brush through and allow the previous wash to show through, as well. That's really important. Not letting the entire brush strokes show through at times is important, okay? More of this stuff. Look, it's just a brief indication. You only get one chance to do this. So yeah, dry the brush off a little bit as well if you want to create these little this effect that I'm doing now that's kind of like, you know, you can see part of the brush stroke, but other parts of the brush stroke don't show through. You know, you can see here as well, you know, just in the white sections here, you know? Same sort of deal just across like that. And you find that these also the darker brush on the right help to indicate the edge of the right end of the mountain, okay? You just got to do this one. It's like drawing with the brush, essentially. And I don't want to make these too dark as well, because I find if I make them too dark, they're just gonna pop out and create a two distracting marks there. You just want the mountain to look more like how it does in the reference with the details. And, you know, ideally you want these, you know, the amazing kind of softness behind the mountains and the sharpness to kind of contrast through. You know, even here, look, there's these sort of, like, bits of it that sort of come down like that. It's a bit much, even. I don't want to emphasize that too much. There's a little road or something. I don't know, something that runs up the mountain here to the left, and then it just stops, and then you got a few more bits there. And then you've, of course, got this area that runs to the right of the mountain. It's like a road or something here. So I'm going to just use the edge of the brush and just bring this down like that, and we're going to bring this across whatever this is, like that. Don't worry if, you know, your brushes break apart a bit. You know, I think sometimes when you have these broken brushes, it actually looks more realistic. Okay, there's all this wet and wet stuff as well, which you can just leave in or you can do this. Alright? Do you have a look at the left side of the mountain? That kind of looks fine to me, okay? You've got these bits of waterfalls and stuff like that. Let's have a look. What else do we have? You know, it's really you're really just picking off the final touches of detail. I like to grab a small round brush as well to do this. Like, there are some people here in the background. There's a man walking here. On this bridge. And I'll just get a silhouette of that person in just with a bit of darker paint. Okay. Here. God, I've got a lot of this leftover paint on the brush. Get rid of that. It's too much here. And it's kind of walking in, like, from here.'s put the head in, then the body and legs maybe like this. Just to again, get a sense of scale, sort of sense of scale into all this. The ones in the back as well. There's a few sort of figures here in the back. I'm just going to imply, again, the head and the body and legs. I want to simplify this down legs there. There's someone maybe here, like walking as well. Someone walking towards the mountain there, maybe someone walking into the scene, a couple here. Um yeah, the less you sort of touch the paper here, it's the better. These people are just here to indicate a sense of scale. So the ones right at the back are tiny. You can barely see what is going on. But as you move closer to the scene, you know, you've got this figure here. It looks a little bit darker. Okay? With this remaining dark sort of paint that you have, you have some choices, really, you can just go through like this and darken off some spots. I quite like how everything, you know, looks quite granulated. So I don't think I want to really, I don't think I really want to alter much of that. But, for example, back here, there are some, you know, maybe some rocky areas that I could just bring out better in this sort of section. Little rocky sort of sections like this, um, with a sharp, little bit of sharpness of this black as you can see, cutting around the green as well, so that you've got some darker kind of ridges. It's just finishing touches really to to make it look less soft because I know from all that wet and wet work, it can just disappear. All the little sharp details can just disappear into all this. Now, there's one thing I've forgotten about. That's all this pool of water up the top, which we're going to bring back with some guash. As well. Once I sort of finish off some of this little detailing work, okay? They're just sharpness, little bits of sharp contrasts in here because there are sharper areas. It's not just, you know, the same value all the way through. Good. Yeah, I'm just seeing if it's time to do what I want to do yet. I think it could be time. Let's get in I'm going to grab another brush and I'm going to lift off some paint for these waterfall areas. So a bit of clean water, and let's just do this. I'm going to rub onto the edge here, lift off there because we've really got these waterfall area coming through, but it just looks too sharp in a lot of the spots. So this is just my way of blending it together. Like that. Of course, some areas of the waterfall are going to be sharper. So don't do it to the whole thing, but little areas like this, they add a sense of they just make it look like it belongs more into this scene, I guess. You know, you see here, for example, little spurts of water just coming off in different directions. That's important too. To imply. And I find if I go in with the guash, well, I mean, I can. I'll probably use some guash afterwards to re emphasize this. But if I use the guash through all of it, it's actually going to make it look very unnatural. I will only use the gouache for just a little few little spurts of paint or water coming off up the top there where I've not been able to recover some of that paint, as well. That white. See here, I'm just extending this bit of water to the left because I accidentally gone too far in. That's right. Just lift off. It's mainly where it hits the the water, there's softness around. It's not just this, you know, completely sharp area. So, you know, you can even create new little spurts of water like here or something. You can create something coming through here. You know, it's not very obvious, but something like that, lifting off the tissue and blending so that it looks more natural. Here as well. But yeah, again, like I said, I'm going to go in with some white guash later and bring all this out and make it actually look a bit more bit better. Through the Through the water, there's also, you can see, kind of bits of the background showing, again, so I'm just trying to, like, get in a bit of that. The directionality of the water can be implied through through your brush stroke, see? It looks like the water's coming out in this direction through the way you form your brush stroke, you know, cause with each brush stroke, there are tiny little lines that form. And those little lines um, yeah, I can make it look more or less like a waterfall. Okay, so I mean, it's a really basic thing I've done here, not really much, not really much at all, okay? Sort of having a look to see what else I want to put in here. I mean, I could keep going on forever, but that's kind of, you know, that's not my aim. I'm going to grab some I'm going to just spray this front part of the scene down a little bit. And I want to add in a little bit more green, a little bit more kind of darker green here because I think that this whole area is too light in parts anyway. So a little bit of darker green. Okay. And this will just join on to everything hopefully because it's still wet. I've re wet the paper. Here, there's a bit of darker green up the top. Here there's a very much darker green here on the right hand side. I think this just looks a bit better rather than it being the same old green that we've used before. More contrast as well. That looks a bit better, a bit more interesting. Okay. So let's think, what do I want to do now? Let's get in some squash to finish it off. So I'll dry it quickly first. Okay, a little bit of white guash. And I've also got myself a small rig of brush, different kind of rig of brushes. The first thing I want to do is just see if I can add some spouts of water, some interesting kind of bits here for the waterfall. So like some little bits of some wispier bits of paint, I suppose, and the waterfall, here. But one thing I've not done before is we've forgotten to get in the top part. I forgotten, but I guess in order to just get in a more smoother wash. I haven't looked at this stuff up the top here. So we can get that in just a bit of this guash. I've mixed it in with some cerulean blue, and the water, of course, appears blue because it's reflecting the color of the sky. Okay? And then you can just, you know, change the directionality of that water to make it kind of come down. Like the origin of just shows the origin of where the water is where the water is coming from here. And let's just bring that down. Bit more of this bluish. It's kind of like cerulean blue mixed with a bit of cerulean blue mixed with gouache up the top here, you know, it needs to have an origin roughly where it's coming from. Just little bits of that color, I guess, to indicate the water up the top. O the top. Good. I also want to mix a bit of darker paint maybe into this section here. It's actually, you know, you got a fair bit of darker colors running through this section near the water, so let's just do this. Okay. Okay. The rigor brushes are just great for adding details. Okay. Another thing I might want to do as well is just put in some quick highlights for some of these rocks and the snow, that kind of thing down below. So again, same rigor brush, let's just see what I can do here. It's a bit there. Maybe I can get a bit here, some bits of snowy effects like that. Just drag the brush over the paper and let the Let the paper sort of pick up the paint. You've got a fair bit of it in areas like even here in the water. Um, it's up to you whether you even want to do this because actually, it can look a bit unnatural if you're not careful, okay? There's that snow here in the center of the scene as well. This sort of whole parts just got a bit of that. So I'm just dragging a bit of this white guash around and through this scene to, um, indicate, you know, the snow that's deposited around and you're leaving the you're letting the texture of the paper kind of pick it up. That's the important thing. Got to do it in a way that just looks subtle, not too stuck on. Otherwise, you're going to run into problems like that. We don't want something like that. You know, I can't really prevent it anymore, but that's fine. Like this, you know, letting the brush sort of float over the paper. It does help when you hold the brush on its side. So just the side of the brush sort of catches on here and there. There's a bit of snow here, even on the rock, so you can just kind of just get that brush running through on top here as well. You see there's little bits of white. Again, just sort of letting the brush float over and exposing the texture, the grain of the paper, which is why it's so important to have textured paper for this type of effect. If you try this on smooth paper, it doesn't work. You know, the idea of this is to try to complement everything else. I'm already thinking it's too much. So I'm going to now put in a bit of yellow into this, tiny bit of yellow into this squash, and I want to put in, like, a few little strands of grass here in the foreground, like these, see that little bits of grass running up. There's also greens that I can drop in, a little bit of green as well with white guash, and just, again, try to get in a few little marks. Where I find it makes a big difference is when you add these marks near to the water area, like for example, here, you'll see there's a stronger contrast because of the darkness there in the back. Keep it light, keep the strands of grass moving in different directions as well. If you use the same direction the whole way through, it's going to look it's not going to look good. It's going to look very stuck on. It's not going to really look like natural strand of grass. It's kind of, I'm just using a bit of green and a bit of yellow mixed together. You know, I might even just be yellow at some point. I don't mind. As long as I got a bit of contrast here, and this to the viewer is going to hopefully imply the sense of the foreground, like, a bit of grassiness in the foreground. Okay? Just one stroke, you know, just one by one, just adding in bits and pieces like that and see how I'm making the grass look like it's moving maybe to the right hand side. Maybe there's a strong, you know, breeze or something coming through. It's just stroke. Each and I used to do this with a fan brush, and fan brushes are great, but they save a lot of time. But when you want to really be intentional about this effect and not overdo it, you just do it strand by strand like this and cause you to spend all day doing it, enough time that allows you to get in a bit of that effect. Of course, you've got some parts where the grass is quite light. So here it's pretty light. So you might want to put in some darker strands, see, some darker strands of grass. It's not just the light strands of grass. You've got darker bits running through. You know, it's depends on how the light catches on. So I'm kind of alternating between both of them, but, you know, it's still just squash running through. In the front, sometimes you get these longer bits of strands of grass coming through as well. But having both light and dark strands really help together to make it look more convincing. I'm kind of making it go over the top of this snow that I had painted on before as well, like that. Every now and then, I'm sort of sticking my head back to see if it makes sense. Even here, you know, there's perhaps indication of grass like kind of these little don't know tufts of grass or something like extending upward, so I can just, you know, imply some of that. Little detailing work. Some people love this. If I'm in the mood, I'm fine, I enjoy it. But it does take a lot of time. Yeah. And as you can see, it helps. It helps bring out detail, sharpness in an otherwise very sort of, abstract looking scene. So yeah, thinking where else can I put some of this stuff? You can just go on forever and do this. You know, maybe got a few something that just comes out here, like a larger tuft of grass as well, like a little tuft of grass here. Balance it as well. You know, like a little tuft of grass there. There's maybe something here. You know, Balance some of these more intentional brush strokes with some darker and randomized brush strokes to create a more natural looking effect. You know, and this is what I'm saying, again, these bits of grass here in the front, they will be longer because they're closer to the front of the scene. Okay, and we're finished. 47. Day 19: Malarrif Lighthouse: Let's get started with the drawing, and I am going to kind of decrease the length of this scene because it's quite a long reference photo, but I do want to get in, you know, good amount of the water as well. So let's make the left hand side of it, a little bit, you know, a little bit shorter. Now, the bottom of the scene, it's really just a lot of black. But let's just go and put in this line with the distant mountains in the background, and roughly the lighthouse there touches the ground. So here we go. It's just a line going across the entire scene. And I'd say it's almost just a little bit less than a third of the way from the top of the page, like that. So there's enough sky. This is the area of the beach, I guess, coming in here. Right? Sometimes you're gonna need to alter scenes a little bit to make them, you know, make them more interesting. Come in that comes out maybe like here, there. And this is kind of like I'm gonna get all this sort of granulating detail maybe below. Here, I'm just gonna make that come out, then a little bit of this rocky outcrop, like that. Okay, to the left hand side, you've got a lot of this sort of green grass there, and there's little bits of it running through as well. Should probably emphasize this better like that. Yep. It's not completely straight, though. Something like this, yep. Then you've got more green up the top. Really, all this stuff is just, you know, rocky outcrops. Um, And the lighthouse, let's get this in. I might actually zoom into the reference photo to make sure I'm, you know, I've got a decent indication of it. Yeah, the base of it is kind of a bit like a rocket ship. It's a little bit wider at the base here, and then it just sort of comes in a little and then runs up to the top like that. Cap down. And the top of the lighthouse has a bit of this, you know, structure there. Then you've got, like, a rooftop of it like this, kind of cape, something like that. There we go. That's a basic structure of the lighthouse. And, you know, you've got to remember that all this is pretty much going to be in white. And just make that a little less obvious, something like that. Good. Someone walking around here in the grass, as well. And there's some houses out in the back. You can see There's something here like a little house. Let's get this in. Little house here or something there. There's another one here all the way out in the distance a Okay. That little person there. Apart from that, I don't see really a need to put in anything else. The people there really help to add to the scale of the scenario. So let's go and get in the sky wash. And I've got just a bit of gray leftover on the palette which I'll pick up. Let's just drop this straight into the sky. It's kind of like gray plus a bit of coolness on the right. But I'm going to go up to the top, and you see here, I'm just going to add in a bit of darkness at the top of the scene. And as I move down, I'm going to just add in a little bit more water here. Smooth that wash out. On the right hand side, I'm going to put in the blue. This is a bit of cerulean blue, tilting the page downwards slightly as well. Here, let's get this in, like that. It's quite a nice sort of cerulean blue. And on the left, I'm just going to continue on with this grayish value, and important thing to do here is to cut around this lighthouse. Alright, something like that. That's really important. Left hand side as well, and using the tip of the brush to cut around it. Okay. Here we have it. Oh, I've gone into it, a touch. It doesn't matter. Okay. Sort of near the base. These houses also going to cut around a little. Just the rooftops, like that. Bring this other wash further down here. The blue and I think what I'll also do is add in a touch of purple or something here for this, cloud shape. The I don't know, I think it just needs a bit more darkness in the sky here. There we go. Might bring out the might bring out the lighthouse better anyway. It's kind of like a purplish gray here. I got very moody sort of day. There's also some clouds that just sort of come over to the right side here, so I'm just going to bring over a bit of that shape. Because this is all wet, it makes it a lot easier to sort of play around with the sharpness, as well and not the sharpness, but the darkness here in the sky without it creating too much sharp too many sharp marks. Now, I will dry this off. Let's dry this off, because we need to, we need to get in a bit of a bit of a sharpness for the wash below. So these areas in the background, well, we've got some little mountains here in the background, which I will try to get in. And, firstly, what I'll do is just spray this area a little bit first with some water so that hopefully the mountain doesn't appear too sharp in the background. So it's just a bit of purple I'm using here, maybe, like, a bit of blue mixed in with that purple, like this. Let's just get that in, like, a kind of a quick indication of some mountainy shape there in the back, okay? Hopefully that's just sort of doesn't move around too much. You just clear that bit up a little bit. Yeah. I want it to sort of blend into those clouds in the distance. And I'm going to grab some kind of browny color, add that in kind of bit of burn tumber. And we see here on the left the same sort of impression of the mountains all in the way in the back there. Okay. Good. Cut in front of that lighthouse, and it becomes a little darker in front. Yeah. Like that. But again, cutting around that little house there. Same sort of deal like that here. Good. Great. Now, further down the page, I'm going to put in some light green. It's a bit of yellow mixed with dark green. Or this part here to just blend this down because I want this to just look like really light grass. Okay, it goes all around to the right hand side of the buildings and the mountains there, where it sort of stops off. Sort of stops off, and then you got this grayish color further down. But let's just get this same wash anyway, running through. Like this. Ing towards the right hand side. Some of it down the page here as well. You know? Good. Okay, fun bits coming up, fun bits coming up. Let's just get this bit out of the way first. Bit of gray here. These sort of rocky areas. These are sort of basalt rocks just run out a little bit towards the sea. And again, like, the real dark areas I don't need to worry about just yet. Some of this just needs to kind of blend in with the green a touch first. Even here, some whiter parts of lighter sort of grayish bits there on the rocks, bits and pieces. In the water, let's add some blue. Cerulean blue, but that's too much. I'm going to add some leftover color here to just dull it down, whatever is on the left side of the page. This brush is too small for me. I've got to pick up a larger one to do this, like that. And I'm also leaving in a bit of that white of the paper where possible. But yeah, sort of goes all the way up the back like this. Maybe make it a bit darker out there as well. Just a little bit darker with some ultramarine ultramarine with a bit of brown mixed into it. Divi got. That looks better. I want that area at the back to really form a sharper edge. You further up like this. Okay, that's better. Just continue this down again and just leaving the previous wash not going too far into those rocks, carrying it down, down here, maybe some purple ish color here. Okay, good. That's, you know, that's the water pretty much done. Now, moving on down further here, I'm going to pick up some black. I've got some Lunar black. You can use some granulating colors mixed together, or you don't even need to use granulating colors for this, but it's just more of my preference. I'm going to drop this in. And Lunar black or Mars black is fantastic for this because when it dries, it actually looks like like rocky, you know, claves, you can see here. Look at that get some really interesting effects. Sometimes, if you wet the paper first as well, I just spray a little bit down here. Look at that. It's doing some very interesting things. And I've got a bit of purple as well. I want to drop in a bit of purple with this black because it's too stark. Let's drop this in. Look, I'm holding the paper on an angle going downwards, just so that I can encourage the paint to flow down the page. Okay. Okay, let's continue this. But here, where the darker bits of rock now hit the water, I'm going to need to create a lot of extra contrast for that. You do see a little bit kind of run through the green as well. The smaller brush will help with this so that it doesn't completely obliterate all the green. So you can just see these little darker bits of rock that just run through here. This is going to be helpful. There's a bit here, too. You can see just going out this into the ocean like that. There's a bit here, okay, that sort of joins on a bit here in the back like that, you know, even maybe a tiny bit sort of on the edges of the beach little bits like this. Yeah. There is some type of building there in the back that I've not gotten in. I think afterwards, we can put in use a bit of guash to just bring it back a touch, okay? These are just some more kind of outcrops, as well of this rock, um, running in from the left. But unfortunately, there's not really much shadows on this day because it's a very overcast sort of day. Some more darkness, more sort of black running through here. I'm going to re wet this whole area in a moment to encourage some of this stuff to move and blend together. I especially want it to be quite dark at the base. Maybe a bit of brown swell. But the purple was just to add a bit of extra color, bit of coolness. Most of this should probably fade out once we're done. You see these little striations in the rock, which rocks that you can imply swell bit of water. I'm going to start off with a bit of water. I'll just drop someone to my hand and just maybe pour it in left side like this. Let's see how water the paint reacts to this. Put a bit more in that. Just if I can get some interesting marks running through the darkness. But just let it run down the page. Maybe I'll get some, Oh, I didn't mind that stuff actually back there near the White House, though. Let's just see what happens. While this is drying, I can just put in a bit more of this black paint again to create some extra contrast on some parts while the paper just starts to create some granulation in areas. Yeah, I just want this area near the water to really look a bit more defined. There's some more darkness here near the base as well in parts. Let it dry for a little bit. I'm going to hold the paper just on a slight angle like this, 'cause I've dried it off a little, I will just spray down this area on the top corner. Yep. Just see what it does. This might form a little path or some kind of interesting pattern running through here. Let's see what happens. Another one. It's a book. Give me another bit of water here. Here. And this only works because the previous wash has sort of dried off. So reintroducing the water just shifts starts to shift this pain around a little bit. But also leaves areas that haven't been wet. So it creates a bit of an interesting contrast. It sort of shows the path of where the water goes. Okay. Let's shift this downwards a little bit. So I might get some downward kind of marks striations running through Okay. And let's just again, shift the direction of the water the opposite way. See what happens. Notice some of the waters just running a little bit too far up so stop it there. Okay. Leave that to dry. Okay, this is all dried off now, and some finishing touches gonna use a bit of leftover darker paint, and we've put in some little shadows for things in here. For example, this lighthouse, I just want to bring out the base of it better. And there's also some in the lighthouse itself, there's a little sort of shadows running through the center, like here. You know, we can just imply this stuff. It's a little brush like that. It's not much kind of bit of that shadow running to the right like that. And it's actually a bit more coming through up here as well. Underneath the top of the lighthouse, there's a few little bits and pieces, and then you've got, you know, these little bits here, plus the top of it, there's well, just a bit of something It a detail, really. But it's not a huge deal. Just something up there. Of course, these little houses as well could do with some detailing, I put a bit of dark at the base like this. I think just one stroke there should be fine. There are some people walking through this scene. I will pick up some dark paints and just indicate a couple of them. One here maybe here, sort of walking. Another one here, simple figure. Um, just shadow. It's pretty difficult to put these in just a little bit of maybe shadow running to the right. Like that. It's quite tricky. Kay. I think maybe this lighthouse could do with a bit of shadow running towards the right side on the ground, as well, here? Something like that. These houses, too. I know they don't look like this in the reference, but, yeah, I think just a bit of something would help make this look more convincing. Bring out the light in the scene. Then some final touches of guash, which I want to use to bring back a little bit of light on the lighthouse here to the left. This base of it generally be sharper, like this. Same with the other side, like that. It tricky to imply this, but, uh, yeah, something like that should definitely do this Maybe the top of it here as well, some bit of squash hitting the top of the roof of it like that. So simple, but, yeah, I think it's necessary. Maybe a bit here on the people like that. Blend the base a bit more with the shadow here, too. Yeah, it's more of a squarish base. Alright, and we are finished. But 48. Day 20: Snowy Cottage: Start with the drawing, and I'm going to put in the bottom of the mountains roughly about here. And it's just less than a third of the way through the scene. Bottom of the mountains also ends around there. There is a larger mountain that goes up to the right hand side. Let's get that in. It's sort of coming up like this. It doesn't have to be perfect, but just something that resembles the reference, something like that. Okay. And then we've got all these other mountains to the left hand side, so I might just put in a few little dots to indicate roughly where the peaks and troughs are of the mountains. I'd always like to do this first and then work on joining up these little lines. This down like that. There this goes up like that, comes down again. And runs down like this. This mountain actually runs down a little bit further to about here. And then in the back, we've got a whole bunch of these other ones, which, again, I'm going to just put in some little dots where the peaks and troughs are some little quick lines. But at the end of the day, it's not a huge deal if they're not super accurate, just as long as they approximate the reference. Okay, good. Here, this sort of just runs down the side of the mountain and disappears off to the back. Okay, fantastic. This house here is the next part that we want to put in, so it's triangular sort of section like that. Just put that in sort of triangular. Then you've got the side of the house. And there's this sort of balcony area here that just sits off the left side of the house like that. That sort of just runs down there, there. Else, you've got a window there. My aim is not to get in, you know, super accurate sort of scenario here. We just want to make sure that the darkness of this house is visible. Like that. And actually runs out to the edge of the scene there. You got a chimney here, and there's lots bits of dark on the roof which we'll be able to get in afterwards. And a lot of it is actually just sort of covered in snow. You know, underneath the house, it's like, you know, you've got a bit of the side of it here, the board making up of the house, but you've got just a lot of snow just covering up the rest of and we've got another window there. We've got a window here, and there's a door here, another window here to the right. Okay, so it's pretty basic sort of house. Okay. Alright, let's just have a quick look at everything and check that it's all in place. Just make up a door there. Okay. Fantastic. So let's go ahead and get started with the painting. Now, for the sky, I'm going to pick up a little bit of this color here. So for the sky, I'm going to pick up this mop brush, and firstly, we're going to start right at the top with some cerulean blue mixed in with some ultramarine blue. Let's drop that into the sky. I want to make this perhaps a little darker, slightly darker than the reference photo. More ultramarine maybe up the top. Okay. And as I come down the page, I'm going to drop in just some water. It's all it is, it's just water, and we'll move down further again, more water and more water. And what this does is that it lightens this wash so you get a nice smooth kind of transition. But at the top of the scein, I will also drop in a bit more blue and let it run down a touch as well. So you've got more of this gradient. We do it this way. And as I move down, as well, I'm going to pick up a bit of red, a tiny bit of red here and drop this in here so that it just warms this section a bit up, okay? More red. I like a pinkish color, okay? And I'm going to drag this down like this, okay? Just warm up the sky a little bit. That's all. Okay. And I'm cutting around these mountains very loosely as well. But I want the sky to be pretty much, you know, a nice flat wash like that. Now, what I want to do is pick up a bit of purple. I've got some purple already on the palette, and let's drop some of this into the sky, like, just a little bit there for this, you know, this cloud there, and then maybe a bit on the right there. Okay? This will just blend in nicely, a bit up the top here, a bit here to the left. Here. Maybe a little bit of something down the base as well, with some pink mixed in, like that. Some softer sort of marks there for maybe some clouds lower down. I make this one a bit more darker and just stick out better that one as well. Just a more obvious looking shape. Great. Let's give this a little dry off now. Okay, let's work on this next part of the scene. And really, what we want to do is get in the snow of this scene. And we have really just a bluish value, like a bluish purplish sort of value, which I'm going to mix up here. Okay, it's really just it's really just a bit of purple, bit of ultramarine blue mixed together. And let's just go straight in. Let's have a look at this. It's approximates that value. Yep. That's too dark. So just add some water again. And, um, let's move this through. We want this to be fairly light. So we want the sky also here to be, you can see, just the edge of this mountain. So we're gonna drop in a bit more paint up the top here. There, let's bring this down like that. Okay, there you can see just going across now. I'm keeping this really loose. There coming up next to it there. There's more okay. I kind of trying to strike a balance between making sure the mountains come out in front, but then also a light enough so that when I apply that second wash of black, it's going to show through. So something like this. Just kind of all in one. Just get this all in the same time. Keep flicking paint around. Don't want that. Good. Yeah, that goes up. Okay. And this stuff is all in the rooftop of this building here in front. So let's get some of that in. I mean, it's really over the entire scene. It's let's just get this done. Bring this wash down the page. More blue. And this rest of this sort of snowy kind of color. Okay. Really, the whole thing you can just go over as long as I keep a bit of that light, so I need to see through that pencil as well, so I know what I'm actually painting afterwards. There we are still kind of like a pale, bluish, cool sort of color. Great. There we have it. That's the sort of snow wash. Now, I'm going to start working on some of this granulating color in the mountains. So I've got some brown and I've got some lunar black, which is basically Mars black.'s drop a bit in here. Let's see what it does. Drop in some here, here, up the top here where it kind of, you know, you've got parts of it that just stick out a bit more like that. Okay. This comes down here. This part of the mountain is actually a lot darker. I need to get a sharper edge here. It comes out in front of that mountain behind like that. Runs down like this, finishes off, kind of trails off there. But then in this mountain behind, you've also got a little bit of this color as well. I'm going to drop some of that in maybe with some water in there to just encourage it to bloom a little and granulate get a bit of inconsistent drying like that. Some more here. Let's have a look. Yep. So bits here, tiny little mottled little dots of color. You know, there's something here as well. I just want to paint some of this stuff in. This mountain, there's, like, some little bits of darker values in there. The same thing goes. I just drop in a bit of a bit of water. And let that kind of move around a bit so that it can imply, I guess, a bit of this rock or whatever. Here in the background, I think I'll mix in a bit of purple with the black that I have some other types of color running through in here. The It's not a big deal, 'cause it's quite far off in the distance. That Great. Some stuff here in the foreground, as well, you can see, these like shrubs here. They need to be brought out. Just go to feather feather a bunch of these around like this. There we are. Just get that through. Some there. Up there, perhaps. Okay. Then we're getting on to the house now, so it's kind of got to be a bit more careful with this, but I'm going to go into the rooftop, like here. And I've got a lot of paint on the brush so that it just doesn't hopefully spread too far. There's the front part of the roof, that darker sort of section of the roof. You've got a bit of light showing through there, but then you can cut around, use that black and work on these lower parts of the house. Didn't spend all too much time drawing these in. But we can spend more time right now, because this is gonna obviously end up in the final scene afterwards. So more black here. Great. Here we have it. Just leaving strategically some areas that are a bit lighter on there. Yeah. This right hand side as well. This section should have more darkness on the right. Like that. Again, leaving out these windows, I might put in a bit of a little bit of yellow or something in there afterwards, let's see. Black again here on the right hand side. Great. All looks pretty grainy at the moment, which is fine. Um, I want it to still look a little abstract. Yeah, you can see this little balcony area especially. It's kind of joining on, so you can see underneath, it's actually a little darker there. Yeah, but I just want to preserve some of that light later on. I think what I'm going to do as well is work on some little darker bits behind on this mountain to try to bring out the rooftop of this building. Can you see there should be a rooftop here. But it's not really showing through. But by doing this, it helps to bring it out of this Area. Should be more on this angle, actually. Little chimney. Let's put the little chimney in here like that. Good. And on the rooftop, you do notice there are some little bits of darker color. There's little bits of black there that show through sharper bits. Let's imply some of this stuff here, where the snow hasn't quite covered parts of it. You know, even here on the right hand side, let's do that. Maybe a bit up here as well. Okay. We need some of this. Yeah, and that idea I had with the mountains is important. Yeah, it's gonna bring out the rooftop. Otherwise, it's going to be tricky to imply any of that detail. Okay, here is the kind of road or whatever that's just sort of leading up there. I'm going to give this spray again to reactivate some of this so that we get some, uh, So more wet and wet work. So I can get some more wet and wet work through here. Okay. Good. All right. The house still looks pretty abstract, and we'll work on that afterwards. Okay? I think I just thought I might add in another layer of trees or something here as well. Maybe some little just getting a little bit closer to the house. I've also got this fan brush, which I'm going to play around with a little bit as well, just with that same black and then flick up some of this stuff here for the trees and little see these little shrubs and things. I think that's going to be important just showing through very quickly. And if it looks too sharp, again, just sort of spray down spray down the page or touch like that. That it moves a little. Even back there, there's potentially some little things as well I can add in. Great. Some bits of black running through, some darker bits of black. I need to really imply this better in some parts. It's tricky when you're painting went to wet because a lot of this stuff tends to separate out and run off. If you're not careful. These ones even starting to sort of lighten off a bit, same as the details in the house, but with this stuff, I think afterwards, I can put in more detail anyway. That's going to be fine. Okay, so I want to put in some tree branches, some indication of tree branches. I've got some purplish black, and I've just got the black again mixed together. And you can see some branches coming over from the left hand side. I'm going to indicate some of this that. Okay. Is this some of these branches you see going into the sky, there's not much wet and wet effect going on there, okay? Because it's the sky is pretty much dry, okay? So I like that. Just want to make sure we've got some of that happening coming in from the left of the scene I hope to kind of frame the scene better than the reference, kind of implied. So that. And I want to make maybe like a tree, a tree shape come in from the left like this. See? A tree shape. It's another bit there. You know, that will kind of help frame the house. Scene a little bit. And not only that, but also on this side, some shape, some little tree shapes, also, branches running up through the scene like this that same color that same sort of black. Okay. I just want to maybe feather in a bit of this down below here for another layer of these shrubs or something. I think that might be a good idea. Most of it is just painted all this, it's almost all just wet into wet. T of darkness on this tree, as well. Yep. I think maybe another one running up like that. As Yep, something like that. Just redoing this house, the rooftop of this house. It's tricky. The paint has started to thin out. I'm having to go over it just another time to emphasize this again. 49. Day 21 : Stockholm Night Drawing: Let's get started with the drawing here, first thing I want to do is just put in a bit of the area of the ground. Going to start drawing a line like this. Leaving a slither of grounds there because we do have some people walking across that kind of thing. Now, these buildings are a little bit easier because they're pretty much in the dark. And the way I took this photograph was the path and the centers, pretty much, so you can see all lit up. And then you kind of got the side of the building that goes all the way like this, and then you've got the top of the building. And, of course, you know, there's different parts of the building as well, but for the most part, it's just a large silhouette, okay? You've got a bit of the rooftop like this, and the rooftop does have little things, you know, sticking out. Uh, chimneys, that sort of thing coming across. Then it kind of goes off. There's a sort of section like that almost. And then there's a bit that drops down and then extends to the right. So let's go and basically it's put in that sort of silhouette of the building. And you can also kind of just put in little lines like this. They kind of just oops, perspective lines of the building. Okay, that one should be straight. Then you might have some more like that. And also, it's good to just put in a few little windows here because these are going to be gonna try to preserve some of those afterwards. Alright, so just preserve some of those windows after. It's up to the top here, there's maybe, like, another bit here, some windows here as well. I'm not fussed exactly as to what what is up there, you know, as long as we have some light showing through, you know, for the most part, all these buildings are quite dark, so it's difficult really to pinpoint what's going on. There is a lamp here, okay? But before we do that, let's get in this sort of front part of the scene. Here, you can see there are some of these little poles here. Then there's, like, some railing here that just goes all the way into the back like that, and here to the right, as well. This is an area actually of the where the river runs underneath. So you've got a bit of this railing, this handrail, I suppose, there, and that sort of goes off into the distance down there as well. Okay, pretty basic. Now, the good thing is that we've got these nice sort of shadows running to the right and you've got people as well. But before we get in those people, we want to get in these other buildings and things here. Okay? So there's this larger sort of building here in the back, you know, here. Not a huge deal, something like that. Then you've got the side of this building. It's almost as tall. Look this sort of side part of that building goes up like that there. A bit of detail here on top. Then you've got this bit that sort of extends a little bit further up, as you can see, and there's a longer part of the building there. Okay. Let's go. There's some details here. There is kind of a tower on top here. I'm just drawing in a bit of this shape, I suppose, easy sort of shape like that to the left. And then we've got some bits and pieces here as well. What else do we have? You know, we've got windows. You got a window here. This slide is actually a little bit darker, so there's not much to put in Alright. Let's kind of mimic that left hand side as well. You've got a bit of path coming up like that, and then you've got this path running there, and of course, you've got this kind of darkness here and the rails there, and you've got some of these little you know, bits as well. It's part of the railing. To fussed about the details of that. Now, let's put in some people. I've got in a person here. Let's just drawing the head. Maybe there's a person behind here. There's another person in front here as well. There's another one, maybe a little bit closer. Let's just put in some of these people. Whoops, and a bit far there, doesn't matter. Okay? This guy may look like sort of walking to the left or something like that. There, you know, and in the background, you've got, like, little figures just in the distance, as you can see, just walking in the distance. So just want to put in a few of these little crowds, I guess, coming over this elevated area, like that. I think it might be good to maybe put in another figure here just to even it out a touch so that we've got some, got maybe a couple of figures here would be good. That. The, just sort of going through the scene. I, I don't have anyone up on this kind of bridge area. So let's just draw one in, maybe a couple here, just looking over the, you know, maybe just looking over the the edge. Sky's kind of looking to the left. Maybe someone else here as well, sort of looking over. Yeah, just the figures, I think, just make the scene look a lot more interesting because there's going to be a lot of darkness in here. Fantastic. And I also want to get in a good amount of darkness here in the ground, as well. So let's go ahead. Let's get started with this painting now. 50. Day 21: Stockholm Night Painting: Okay, so first things first, I want to get in a lot of this light. Also forgotten one more thing here. These round parts should be indications of these lamp posts, okay. We want some lamp posts in here. There's another one here as well. So just kind of pick out a couple of spots where you want to do this. I should have done this before. But there's a few more, as you can see, that sort of just go into the back smaller and smaller as we go. Okay. Now, with the light in this scene, I'm just going to pick up some yellow, really bright, sort of vibrant yellow. This is Indian yellow, and I'm just going to drop this into some parts like this. Alright. And I want that to be pretty vibrant and stand out. We've also got these sort of windows behind. Some of them are just, like, a little bit yellowish. Some of them have more contrast and vibrance in them. So you just want to dab on a bit of paint into those windows. You know, this is a very loose style of painting, so I just want to make sure I've got some light in here in the background that we can imply, okay. And not only that, there's a ton of light back here as well, kind of, you know, just from the buildings and the you know, all the back area here as well. This should just be pretty warm. Now, I might use a larger brush for this. Alright, around here, just to make sure I've got some, I guess, a bit of warmer color showing through. Me yellow perhaps at the top there as well. Yeah. In the ground, I think a bit of yellow would be nice or some kind of orangey yellow as well, just mixed into the whole thing. Of course, I'm just going to, like, doll down, cut around the figures a bit as well that so that there's some color leftover. All right. Look at that. Just going over the top of the figures. Okay, because getting in this light is really important. Once we put in that second wash, once we put in that second wash, it's not really going to look so bright, but to have some in there to begin with is very important, I think. All right. I put some orange in there as well. Bit of I've got some yellow ocha in here as well. Just to make sure we've got some of this warmth back here, too. Fantastic. Okay. It goes up into the roof even like here. It's not a huge deal, just a nice back in color. Warm values to the right. I'm not worried about painting the whole thing, but just give it some warmth is what I'm trying to do here. Now, the sky wash, we're going to have to get in quite sharply. But I think we should be okay actually because we'll go over the buildings again once more. So I'm going to go and just drop in in the sky a ton of blue. This is going to be, I guess, like a purplish blue would be good for this starting off at the top there. Kind of purple and blue mixed together. Remember this is a Nocturn sort of scene, so you're going to get you're going to have to make this sufficiently dark at the top. Alright. Let's continue down the page. More blue and purple mixed together. Drop this down. Some of this might go into the building. Don't worry too much about it. The main thing is try to get in a nice even wash for the sky. Um, yep, purple works very well against these warmer values. Alright, just kind of creates interesting bits and pieces here where you get, you know, bit of the light showing through. And look at how I'm just sort of cutting around as well. You know, some parts. I'm cutting around. So parts I kind of let join on like this. Let's drop this further down. Bit more blue in that mix here. Good. I mean, at this point, I'm just glancing at the reference every now and then. I'm not by any means, like, obsessing over it. Oops. There we go. This will sort of mix together in places. I like that top bit. I just leave that and see what it does. This color downwards a bit. Encourage that to flow down. In the sky as well, I'm kind of tempt to just pop in a bit more purple, like, to get some cloudy areas, some indications of some darker clouds in here. So I'm just dropping in a bit of purple paint like thicker purple paint in areas. Make these clouds a bit smaller as we get down. Let's have a look maybe up here. Yeah, that's just I don't want to I don't want to overdo this as well, because we still want the sky wash to have a bit of light in there, okay? So just a little a touch of that's gonna be fine, okay? Touch of that. Alrighty. So the next step here, we're going to use some darker values, okay? I'm gonna be using a bit of lunar black and also some brown ochre. And this is to get in there kind of darker silhouette of this building, okay? So I'm going to start maybe off here, and I'll leave on as well, the a bit of light maybe on the right side of that chimney or what have you there. Let's try to it's a chimney, sorry the tower, what I'm saying there. Okay, there's a bit of detail there as well. Okay, and you cut around again, just leaving these little spaces and bits and pieces so that it's not, you know, yeah. Completely just obliterated. But, yeah, you do want some darker contrasts in here for sure, okay? I think the trick is, too, um, just find ways to blend together different elements. Like here, especially this, we got to cut around that circular light there. Okay? Bring this down. Okay. And, look, this area would have maybe a bit of light on the right side of the building there. So I'm going to just leave that out. And again, just continue carrying the same wash down the page. I want that to sort of hit the sky and have a sharper impact like that. If some areas are too light, I'll just drop in a bit more color, a bit more of that black, okay? Cutting around again, just remembering that there are some windows or whatever that you might want to imply in here, okay? And some purple as well might help a little bit of purple into this darker value. Okay. You got another one here. Good. We got down here, I can just drag this down and again just create this archway, this indication of an archway, and then another one here to the left side as well. Like that. Great. Let's move this down all the way through. I'd like to also make it a little bit darker down the base here as well. Little bit darker down the base. Cut around this figure. More water and darkness down here just to encourage, um, a bit of anchoring, I guess, for the building, that? Good. These buildings have, like, a ton of, you know, detail and windows and stuff in here, which I can just sort of imply. Um, that not much, but just a little something. And then maybe this section there is a bit darker. Then we've got some little bits of line work as well running through like that. The trick is just, you know, not obliterating all of that color. You're kind of leaving parts of it out. And that way, it looks, you know, that light from the scene from the, you know, lamps and things like that is just reflected into the off some of these buildings. But down in the background there I thought this might actually be better if it was slightly darker to make the figures in the front come out. A touch. Good. And back there, you know, it's actually a lot lighter. Um, there's not much I can really do about it now. I might be able to lift off some of that paint afterwards, but I'm just putting in a bit of yellow there, I think I'll have to lift off some of that paint to make it lighter right in the background later. Let's not worry about that just yet, okay? So that building to the left is looking quite okay. Now I'm going to start working on this building here. Let's drop in some darker color here. Okay? This is just a bit of Mars black or lunar black. Yep, there we go. Again, cutting around some of these, like, lamp areas. In fact, kind of forgotten to do it over in this other area. That's no big deal. Yep, yep. I really love how the yellow seems to form a nice kind of granulating effect with the black, with the black sort of coming forwards and the yellow kind of as you can see, peeking through in parts. Okay? So that's sort of an area there. This can be. Again, I'm just leaving some light on the building. But, you know, the tops of the buildings, you can see there are little kind of details like this sharp sort of details that you might want to indicate. I think it's a good idea anyway, chimneys and stuff to just show the tops of these buildings. And I'm really just simplifying this down as well. As you can see, I'm not really going that dark in areas. Let's just go across here, bring this down. Again, you know, you've got areas that you can just cut around and just make it a little darker. This window, see, cut around that window, this one here, this lamp post here, just cut around that light. Same deal here, cutting around, putting some darkness in there, but not fussing about too much. Sort of I try to give things one pass and then continue on. Okay. This is just a round brush, by the way, I'm using a round brush so I can get in a bit more detail. And again, I'm picking up some purple and putting in a bit of purple because I feel this wash is too too much at the moment. It's just too light. Okay? So you can drop in some of this. This whole, you know, all these buildings in the back, they need to kind of look like one big object. Okay, one big sort of mass out in the distance. Coming down here, more windows to the right. Let's cut around like this, here, here. Fantastic. Okay. Now, what I want to do is perhaps wet some of this ground area, okay? Because I want some of these buildings, the shadows and things of the buildings to actually blend downwards a bit more. And yeah, just look more organic. So I've got some sort of spray bottle here. I'm going to give this area a bit of a spray underneath like that. This is going to encourage some of this water to run down. But the main point of it is for me to you just have, like, a wet surface so that I can pick up some darker value. I'm gonna pick up some purple and a bit of black. And let's see what we can do. So there's got to be some darkness here, for example, and a bit of a shadow running to the right here like that. Maybe for the person. There's these shadows for these, like, little, what do you call them It's here. Let's have a look at this. I might get in a larger sort of shadow running there, a bit here, but also member leave some light peeking through so it's not just complete just darkness throughout this whole area. This needs a bit of shadow too. This area there, this sort of bit what do you call it. There's not really much sharpness in here yet, so that's something I'm going to do later on. I'm going to work on a bit later. I just want this to kind of blend and melt together a bit first. Okay. Okay, like that. What else do we have? There's a bit of darkness running through here as well, through the center of the scene. It's kind of like the figures when they walk around, you also get a bit of darkness on the ground. So that's like you have to imply that, too. You know, it's all very abstract at this point, but you can kind of make out what's going on roughly. And you see I'm just cutting around the heads of these figures a little bit as well. Even here, you've got a figure here. I'm just sort of dropping in a bit of this dark paint in the background to really make sure that their heads come out. And, you know, you'll get a bit more darkness at the base of the building. If you just drop in a bit of extra paint. Hopefully, this doesn't spread all too much, okay? You know, of course, there are also some darker windows in here that I think could be indicated. There's a bits inside. You know, even some of the windows, as you can see, there's frames. So you've got to also do stuff like this in some of them so that they look more interesting. They don't look all the exact same. I do like to save a lot of this stuff afterwards, though. So kind of be sparing with it at the moment. Yeah, I like to just in the final wash, really exaggerate this more. Okay, good. Let's have a look how this is appearing. Yep. Some more darkness at the base, maybe some purple again here just to add some coolness, not just the same coolness, but here, more color as well that needs to be darker. And here maybe, as well. Sharper sort of point area and there, I guess, around the figures. Okay. But strategically leaving out some areas of light as well. Okay. And what I'll do is maybe just give it a few little britches of water in places, maybe here through that building. And this one here, maybe a bit here in the foreground, as well. And I want to encourage a bit of the water to run, work its way through and kind of mix a bit Okay, everything's dried off now, and I will put on some finishing touches. And some of these finishing touches will also just involve lifting off. Lifting off some paint, okay? But let's get some darker paint first. And what we want to do is, I guess, touch up on some areas like I've noticed here, I've forgotten to put in this section of the roof, a little bit up the top there. But there's things like, for example, this, you know, a little bit of detail up the top, okay? Kind of little almost finishing touches, I suppose, just running through some parts. And it's not to it's not to take away from that previous wash. It's just to add on a bit of structure to what's happening in here. You know, you might have, for example, you know, I've picked out maybe like a window here, like a dark window, the shape of a dark window. You have, you know, a frame, a window frame there, for example, or, you know, there's something here, like, another window in the background. And I like to sort of put these on in a very sort of loose manner and not worry about the getting in all the edges of the lines. I mean, you sort of just let it do its thing like that. And you might skip a part of the line or you might just do, like, one or two sides of the actual window frame itself. There's something running across here. Like, you don't have to you only need to imply a little bit of what's happening, because the moment you start doing too much, it becomes you just ruin it, really. So, yep, let's have a look here. You've got also, you know, these bits and pieces that we'd lost out before. So some little details there. This is really just, I guess, some of the railing that runs across, which we'd lost out before. So I'm just implying a bit of this here running through in that section, maybe a bit of this a perspective line as well here, there, like a perspective line just running through. I'm there. You know, some of these, like, again, these little pools that we missed out before. We can connect some of them up like this. This side, let's get in a few quick ones. But here as well, you do get some of these again, fencing off fenced off areas here, it gets smaller as you go towards the back. It's just little tiny little details. You know, kind of like the previous detail I put on there with some of these frames, so I'm just enhancing it a touch. I'm putting on the remaining part of some of them. Uh You can also sort of put on details like the rooftops. And, you know, it's very hard to see exactly what is happening in here, but you can put in a few little, you know, see these little lines running across the scene like that, running across the buildings to separate out maybe the floors of them in parts anyway. I don't want to overdo it, but it just adds a bit of extra perspective without much effort. And you have all that previous wash just sort of left in as well. Okay? So here are the people I thought of getting legs for these, you know, couple of people here. Quick indication of their legs, walking. And you got connects on to the shadow there, and this one will need a shadow, too, like that. That just needs to be a bit better there. Yep. This one here person there, a bit of shadow, and I'll get that one in as well. Uh, we go. Not that. This person could just be wearing a lighter shirt, maybe can't see so well, but that looks okay. There's a person here. Very, very um, not too detailed. I thought a person here as well. Legs and the shadow running to the right here. Like that Mm hmm little people walk around and you need this stuff here because it just makes the scene look more believable. You know, even in the background, there's people walking around and they are forming like a little, you know, crowd out in the distance, and you have to imply some of this stuff back there as well. I mean, it's not even much, but something, right? This person here, I forgotten to sort of put on the legs properly, but it should be running to the right, as well. Same with these, like, bits of the fence. There's like these smaller fence, but like these three poles that sort of stick out here. And whether you want to actually put these in or not, it's up to you. But I think they just, I think they make the scene look a bit more interesting, but you don't have to do this. Okay. Look at what else. I can't really quite see what's on the top of this building, but that's fine. Uh, you know, there's a whole lot of things you can do, but I think that's okay for the detailing kind of work. Now, I want to just get rid of a bit of paint to bring back the light on some areas. I'm gonna drop in some clean water to some of these sort of spots you see here, just this area where I've got, like this light you know, like this, um, part of light, I suppose. You can bring that back. What else? Maybe a bit here. You can try to bring something back here, here. Okay? Just like I'm going to need to connect this onto a, you know, hole. These main ones here are the most important. In fact, I've kind of forgotten about this one. Where is it? That might have been there. I forgot to let's see if I can just remove this paint and get in some indication of. Alright. There we go. Maybe you get in a bit of yellow here. How does that look a bit white or something? All right. Let's get in a few more sort of round lifting off areas. Again, these are just for the lights that line the street. So it kind of looks like there is a light source, I guess. I just goes to show, if you go over something, it's not the end of the world, you can still, you know, recover some of this paint. I just blur off some of these windows a little bit as well. They look a bit too sharp in parts. You know, I can lift off a bit of paint in other parts as well if I feel like that's just I need a break in this whole area, like a bit of yellow up there. Yep. It's just a way of putting in getting in a little bit of light. And this whole area at the back as well, I did mention that this would be better if I just was to lift off some of that paint. I think that's going to sort of work. I won't be able to get it in exactly, but it does look a little bit lighter there in the background now. Touch lighter in some spots, you know, not hugely fuss about that. And of course, some of these figures, I do think it's getting a bit of a bit of light on this figure there. This one here looks a little bit too washed out. I want to just bring out some details. Okay. Some of them just put the heads in be easier like that. Brown maybe some hair. And finishing touch just to get in the stems, these like stems but you know, the poles run down some of these, like street lights. I got there, and of course you might get a bit of shadow running across the ground. Connect on with this light up the top, but I just want to soften off a bit as well, the edge of that. There we are. These two are probably the most important because they look like they're so close to the front of the scene. It's all just a bit of a little touch of water. Then just lifting off. You can recolor it a little bit as well so you can see. Okay, good. But I'm not quite happy with this figure here on that side. I think I might just reduce him down to, like, a darker shape like this. That's better. I think, looks more interesting. And we are finished. 51. Day 22: Bergen Scene: Alright, let's get started with this drawing. And what I want to do first is kind of put in a rough line here where the bottom of the scene starts, and it's kind of where the darkness is dark areas. Then moving further up, we've got this kind of mound of rocks. There's a bunch of them sort of just sort of lying on their sides, sort of jagged sort of rocks sticking out, and you've got kind of moss on those rocks, as well. So it's kind of, you know, just a pile of pile of rocks, really, and sand. And you can see here even just, you know, in the ground, there's this sort of larger style rocks, and I'm just trying to indicate them very, very loosely like this. And this is going to be interesting. We're going to get some type of effect here, I think. I'll try to get the water to run through this area when I re wet the paper to create a incline sort of effect. Okay. But for the time being, we just want to put in a brief sort of indication of the landscape like that, okay? And a lot of these rocks, we don't don't have to really bother with huge amounts of detail, just an indication that they are there to remind me later to cut around them, maybe indicate them, scratch some bits out here and there, trying to sort of also indicate the fact that there might be a bit of a path, you know, laid and through this area. So like that. Okay, so yeah, over here as well, this is where sort of some of the trees start and you can see they go all the way up. There's just so many of them, and I am wary to not overdo this, but have a brief indication of the two big ones, the two really tall ones, as you can see here, really tall one. And I do like how do like how the branches just sort of go through this whole area, and this is going to be interesting. I think I'll try to indicate that through a bit of brushwork, plus, of course, some wet and wet work as well. Okay, sort of move all this detail through. There's another tree here to the left as well. I think I'll leave that one for now. I really like the fact that there's a couple of people here, tiny little people here in the background that just give a sense of this enormous scale here, and I was walking through this area. It was basically a mother and a child. I think I put the child here on the right, perhaps, like this. I was walking next to the mother here. Okay. Something like that should be good. And, you know, there's other trees here. You know, there's another one there, like a trunk of another tree, another one there, another one sort of here as well. These are pretty dark looking trees. Here, there's sun coming out from this area as well, which we'll do afterwards. But for a drawing, I think it should be good to go. So the first thing that I want to do is add in the lights. Now on the back of the scene here, you can see there's lots of really light sort of green. I'm just mixing up a bit of dark green with some yellow, okay? And I'm popping that through here at the back with the yellow, as well. I'm trying to be a bit more generous with this so that it just stays a bit brighter and it's very watery. I mean, there's only five to 10% paint in here, right? So just coming across here. There really sort of mossy, grassy sort of area. There, I'll cut around that bit for a bit. And I also think some yellow ochre will be good here, kind of like a dull down yellow. I'll mix a bit of gouache into it as well to hopefully try to create a more milky sort of look. There we go. Just spread that throughout the back like that. Again, it's just really light paint. I'll probably look too light and weak at this stage, but that's what you want. You don't want it to get too dark and saturated just yet. Remember, this is the light of the scene, so you really need to preserve that as much as you can. All right. Good. That's about enough. Now, the top of the scene, we've also got ourselves a bit of blue. You can see just a bit of the sky wash. I'm gonna pick up ultra not ultra some cerulean blue, really light wash of cerulan blue, and you can see just a little touch like that. Okay? You can see some of it sort of come through the tree like there, but apart from that, it's just a bit up the top. Okay? What I'll do as well is wet this bottom part a bit more. Okay, so that this stuff tastes wet. I don't want that to disappear. Now moving up, I'm going to put in some green. Now, this is just a bit of undersea green, which is basically a darker green, and I'll mix this in with a few other colors as well. Alright? No fast exactly what I use in here, but just a kind of nice greenish value. Okay. Move this around. And it's a little bit darker than this area in the front, mind you. So when you're painting this in, make sure you make it darker. And I also like to drop in perhaps a bit of purple into this mix so that you've got some you know, a bit of variation in color. It's not just the same, you know, green running through the entire thing. And now everything, you know, as you can see, everything is pretty wet. You can just drop the color in, and it just very nicely blends together where you got the blue, as well. Can you see I'm just kind of flicking that color in, leaving some of the blue but again, these trees are going to show through a little bit. I'm going to let them just indicate the base of that tree you touch. Now, I need to make sure that the base here is a little bit darker. So I'm going to just add in a bit more darker paint at the base. But keeping in mind, this yellowy stuff is going to trying to get some of the yellowy stuff to go upwards. So if you just slant the page upwards, you should get that effect. All right. This whole area is kind of like the start of where the lighter area of the grass, lighter moss and stuff like that begins. All right, so you want to make a bit extra contrast in that section, okay? And then over here, you can see it starts getting dark, right around about here. And I'm going to mix in some brown. So I've got some brown ochre here. And it's also green. It's kind of like brown and green together here. Bit of I think a bit of blue or some cooler paint would be good, too. So purples even. Yeah, just to keep I don't know, just make it a little bit more interesting in here, some coolness, I suppose. I'm going to drop in some black, some granulating black, as well. These two people here, I can see them and they just, you know, make them kind of standing by the edge there. Okay, let's drop in some this kind of granulating black color. Here, I got also some larger round brush for this. Okay. And what I want to do is just, force this color to really Stay onto the page here and blend in with everything else. All right. So we have some amazing kind of granulation effect. But I also want to make it pretty dark. Alright. I'm going to make it pretty dark because I'm going to introduce some water afterwards in this section and that should cause it to spread out even more. More darkness here at the base like that. Here, maybe mix it a bit with some granulating purple. So it looks a bit different in parts. Yeah. Of course, you've still got those other colors as well. Um, I'm thinking whether I want to put a bit up the top here as well, a few brushstrokes perhaps running through in spots. So the trees as well, I'm going to get in with this granulating dark value, but before I do that, I have to actually wait for all this stuff in the background to dry off. So I can't get those sharper trees ingest yet. I've got to wait. So, um, there we go. I'm just going to play around with this stuff. And the center of the path is kind of darker, as you see, this sort of area here, so I might just indicate that. Going up here, it's also darker. Here, reworking it a bit as well. Like that. If I can drop in a few bits of water, maybe coming through the top. Like there, just drop in a couple of little bits of water and just let it run through the page with some other black paint. I'm just hoping this will create some interesting marks for the water kind of traveling down and create some pathways, I suppose. Um, I got to be quiet, careful with this so that I don't overdo it. This top section here is kind of come down a bit, so I might just lift off a little paint there. There you are. Okay. So, kind of, I just want this interesting effect there. I want to dry the top off a little bit. So this top section of the page has started to dry, while I've dried it off pretty much, maybe a little damp, but, you know, 80, 90% dry. It's time to pick up this darker paint again. I'm going to use a bit of this lunar black or mass black with a bit of brown. And let's get in this large sort of tree. You know, it sort of starts all the way down the base here, see if I can just join it up with the rest of what's going on here, right? We know it sort of begins roughly about here, right there, and then we're going to bring this up. I also am mindful that I don't want to spend too much time putting in all the little details of this tree. You want it to be quick and kind of quick and matching with the rest of the style of this scene. So that's the tree, you know, bit of brown in there as well, but it's mainly just this darker black value. And I'm trying to get it to blend and mix in with the ground as well here. Okay. Oops, this probably just make this a bit thicker here, maybe. Yep. Okay, let's go for the one here to the left. It sort of starts maybe there and go up. Let's get this in. Okay. The vertical. Really just a nice little vertical. You know, you might have another one here, like running through, holding the brush near to the base as well so that it, so that I can get these lines in faster and at more straighter, as well. I think this one should come forwards a bit more. This one here. Yeah. That. Good. Okay, let's have a look. What else do we have? Yeah, this tree sort of goes through. We've also got some smaller ones like here. You know, they sort of just disappear upwards into this mass of leaves and things. So I'm just getting in a few vertical brushstrock strokes here for this. I'm going to have to re wet that area above again as well this area to get in some more details. But let's get in this vertical tree to the right. There's two of them, one here, and then one that sort of runs up next to it like this. Alright. Good. I'm going to pick up a little rigger brush for this round brush round rigor brush. A larger belly, but basically any sort of rigor brush will work. And I'm going to hold it at the end, and let's just try to get in some of this this detail here of the branches running across the scene, okay? Of course, you get some of it just interweaves and things with the other trees and stuff here. I mean, it's the same with this one, perhaps. Let's just get this in. This is easier to do when the paint is completely dried as well like that because you can get sharper sort of marks. Um, but at the same time, I think I want also some darker maybe some darker values here for, you know, some of the background. So I'm going to just re wet this hard again, anyway, and just create a bit of darkness here and here. Alright? A bit of that sort of color moving around a bit there. Okay.'s top there as well, here, maybe. Anytime it sort of looks maybe a bit too sharp, I like to just change it around a bit. But keep in mind, we do need some sharper values and marks in here anyway. So this is important to put in Okay. But as you can see, it's all these tiny details that really come together and make it look like something. The bottom of the trees here as well, as you can see, they've got a bit of a proper trunk and the root system established. So I'm trying to indicate a little more detail at the base as well, maybe another one here, too, another one here that just runs next to it. Yep. Yep. Some rocks and things here and just try to get in a bit of water, maybe, um, to work its way up the little mountain mountain, but, um, It's a little hill here. So introduce a bit of water and let it flow through, actually, just to create a bit of bit of interest, some granulation, up the top here as well. I just want to do some of that up the top. And help join up some of these areas of the trees like this, you know, same deal. So there's just a lot of darkness in here. But it's contrasting very starkly with the light. So we have to we have to imply that. And also, a lot of this darker stuff kind of helps to frame the scene. So if you don't leave if you don't add some of this scene, it's going to look funny. It's going to look really out of place. Yep. Some more of these brush strokes. Running to the right there helps to join up the scene a bit. See if I can if it's time, might be able to scratch off some of this paint to create these little rocks, areas of rocks and things that are in the scene. Kinda make them a bit bigger down the front that helps swell I put in a few sharper marks as well for grass or things like growing here in the foreground. While I was drying this, I was also picking up a bit of paint and just adding it through this center region again to, I guess, bring out this some of these branches that sort of connect up the scene from the left and right, because this has to be done wet into dry. Yeah, it's just looking a bit too abstract before. So Yep. I'm gonna put in these figures, maybe here. One figure, another one here. You can't really see too much what's going on, but just pretty basic. I might put in a bit of highlight the figures afterwards, but you can see, like, a couple of them there. Okay. There we have it. So more brushstrokes joining up. Let's give this a little dry 52. Day 23: Icelandic Mountains: Scene. It's pretty much a black and white scene, and I'm going to do a little bit of drawing up the top here just to put in the edge of the mountains. Okay. I think this is about all I'm going to do so that I can generally get in that sky. There's a bit of the background land around here where it ends. I've got the river running through, and I'm going to just leave this for a bit later. Okay, you can barely see this, but it's more just to separate the sky from the Earth. Probably the fastest watercolor drawing I've ever done. So let's go ahead and get in some of this sky wash. Now, the sky wash is something that's quite important because we need it to be darker. Darker than the rest of the sin. Got a small, well, not a small, but I guess medium sized mop brush. And I think what I'm going to do is use a bit of a grayish, purplish color left over here on the palette. Right. Just a bit of this grayish, purplish color. And I'll start off right here, pop that in. Maybe a bit more kind of a cooler color up the top. I'll slant the paper down a little bit, as well. Maybe a bit of cerulean at the same time. Okay. But mostly sort of a grayish color. Alright. And as I move down the page, I'm going to just drop in a little water like that. I want the sky to be, you know, a nice kind of even color. And as we move down, like I said, you're just sort of cutting around this edge of the mountain. And there are parts where I'm just leaving a little bit more lighter or more jagged, I mean, Okay? Yep, just sort of following this down the page till it gets to about here. And that's it. That's the first wash. I'm going to give this a really quick dry. Moving down the page now, I'm going to get in some darker color. I've got some of this black. Now it's a granulating black. You can use any sort of black, but granulating, I find works best. Especially for this sort of scene. And I think I'll get in edge right about here coming down. This has to be it has to be sort of wet on to dry in parts of this because it's yeah, we've essentially got some sharper sort of edges here for the snow. So I'm trying to get the brush to sort of come through, make some marks on the paper, some little smaller marks like that. You know, at the top here, that's not you can't really tell there, but there's also some other bits that are up there. Maybe a bit up here, you know, just to take the darkness of some of this mountainous region. But a lot of it, if you look at it, is just white. So you're just implying some little striations in the mountains, and, you know, some parts of the mountain like here. It's actually like sharper up the top and you've got more darkness up there. So I'm just going to put that in for some parts like that. Maybe this little part here, I can put in something there for that. Okay. And the trick it's kind of just dry brush. You know, I've picked up a little bit of that pigment, added in only a touch of water, and then just continued on in order to get in this sort of indication here. In the background there as well, there is a bit of softer darkness like this make that a really Sharp, sharp line at the back. Okay, let's continue this down. It's just leaving out as much of that white as you can to indicate some of those mountainous regions. It doesn't have to be exactly how the reference looks as well. So, you know, I've just changed my mind around a little bit. Okay. But one thing that is common is that you can see, it's just all kind of Dark below. So we've got to join this all to a darker shape. Okay? Using more of this darker paint, running through. Okay, like that. As we move down here. All right. More of this darker black sort of paint as well, and do have also some purplish black paint here, which I'm going to drop in. I just want a bit of coolness in here. A little bit of coolness in there, changing the the changing it around a little bit does help. Okay. You see the bottom of the mountains. I sort of got a bit of light, but then it starts getting pretty dark right about here and here, like that. These little ridges that extend out. I can blend that on with this air in the back that's meant to be a little bit lighter. Right. It's really dark now getting down to the bottom here, like pretty dark, adding on more concentrated black in this whole area just at the base. And I do find some of them does tend to move around, anyway, so it does look a lot, but don't worry too much. Down here, we've got this river running all the way through, which I'm going to try to imply later on by just dropping some water in. I'm going to grab a mop brush, a larger mop brush to do this area more efficiently. Drop in some lighter color, lighter sort of black and a bit of this purple, purplish black color as well. The idea is I want to get the water running through here by spraying a bit of water on the background. Background around there, letting the water come through the scene. But, firstly, I just need to build this up first, this area. That's going to be a bit of darkness. Another ridge coming out like that. There there this ridge sort of becomes smaller down the back here. Okay. Of course, you can always just spray spray a bit of water onto the page as well if you feel like it hasn't really, you know, you haven't really got enough soft wet and wet effects in areas. I think mine's looking okay, so I'm not too fussed at the moment. Okay. But some of this stuff here at the base, yeah, I want to just drop in more paint and also some more maybe bluish purplish color in some areas. Yeah. A little bit of I got a tiny bit of green as well that I can just add in a little bit of that, Cape. Okay. So I'm gonna now just try to drop in some a little bit of water at the top. I'll just leave this to dry for a second first before I do this. The trick is to get this area really dark first so that when I put the water through, it's gonna carve out a lighter path. Cake. So I'm going to spray a bit of water just up the top here. And let's see if I can get a bit of this effect running through like this. Okay, slanting the paper so that the water kind of runs through, cuts a little path through this scene. You got to do it while everything is wet. Okay. You can sort of control it, but yeah, it's very tricky. You're kind of working with what the water kind of wants to do, as well. Okay. Maybe I'll start doing a bit here as well. Just to bring in a bit of this water to run through this section. Just on the left hand side, spray a bit there. I think Okay. I reckon I'll start also putting in a bit more color around the sides of this river running towards the back and just try to shape it a little more. Okay. But for the most part, I'm just kind of leaving how the I'm just trying to leave it to do its thing. You can even drop in a tiny bit of water here and watch as the paint sort of runs through the black of the paint and form some more of this kind of effect running downwards. But again, I do want to perhaps shape it up a bit more around here. Go around the top. Sometimes you can do your best to try to control this effect, but it's very difficult. Gonna drop in a bit of water up here as well to just encourage it to move a little here. P You're kind of just relying on the flow of that water. You're adding in paint along the way, too. Just using a bit of pain's gray here, which is it doesn't granulate much, just a little. But I thought this might help form the ridge a bit better as well. Mm hmm trying to also connect this mass up here of this mountain so that it moves downwards a little bit, hopefully. Got a little spray. There we go. We've got one bit coming down through the center. Okay. I can scratch, try to scratch something out, see what happens. Yeah, there we go. That look a bit like a path of a river here. Yep. This is just going to add a bit more structure to this whole area. Maybe just indications. Okay. This river system. So parts of it already looks like a river over here, but I just want to make it appear more. Yeah, kind of look like there's some main ones which haven't been carved out directly by the law of the water itself, like I just did before. So it's just a bit of manual doing a bit of manual work here. Okay. A little more color here, just a little bit of this grayish black as well up the top to just indicate this kind of shelf region, suppose there. Yep. Yep. So just rub out a bit of paint where you want to bring back some light. I just drop something in there as well, just drop a bit of water, have that run through a little Let's give this a dry. Should be done. 53. Day 24: Icelandic Shoreline: Let's get started with the drawing, and it's going to be fairly simple kind of drawing. You've got the foreground that comes in here and this water, kind of misty sort of water there in the background. We've got this sort of rock in the foreground that starts all the way out the back there. You can see there is another a couple of shapes of these rocks. I'm not trying to make them exact, but keep the general silhouette of them coming down like that. Okay. This is now around midway of the scene. There's a rock that goes out into the water here, hits the water underneath, and then you've got some other sort of rocks beneath like this, you can see there's just a few of them in the water here. There's another one here, here, just drawing them in. There's all the way in the back here as well, you can see it's kind of like a runs up and then forms a bit of a point like that, then runs down. Okay? That's another one there in the distance. I mean, apart from that, the rest of them are just, you know, very sort of similar. Now, the water in the back sort of finishes off about here. I'll draw a nice straight line so I can get the sky in in the background there. Okay. Maybe I'll make this a bit higher like that. Okay. And what else do we have here? I mean, it's just a lot of this other detail here, there's another rock runs into the foreground, but the water line is roughly about there. Okay. And I can just make up a few other bits and pieces, rocks, that kind of thing. Running across like that, and that should be good enough for our drawing. Alrighty. So for the sky, I'm going to get in a light wash of ultramarine and a bit of gray, starting off in the top. Okay. Ultramarine and a bit of gray. Just go to make this it's actually a little bit too dark. Let me dilute this down a fair bit. Okay, I'll cut around these rocks as well a bit. I like this sort of moody looking sky. Let me across. Let's just add again, just more water as I move down the page. Yeah, it's kind of like a cooler gray color for the sky. Like that. Just move this right hand side down more But Okay, fantastic. Now, in the sky, I want to drop in some little indications of cloud. So we're getting a bit of that same purplish color, purplish, black sort of color here. I'm going to drop that in and just sort of feather in some of these like cloud shapes, make some of them maybe a bit more bluish. This. Here on the horizon line, it's actually a little darker. There's some smaller clouds there. The cause a bit of darkness here. Here we have it. But you're also preserving the light in the sky as well. So you're just kind of yeah, just dropping in some of this paint here and there. Me these bits of these brush tracks are more randomized, as well, so they're not all to picture perfect. Okay? But mostly I'm leaving in the sky, darker bits here and there, going to make it look more interesting. Always make the clouds a bit darker up the top, as well. Okay. Okay, I've got a large round brush, and I'm picking up a bit of this kind of purple purple mixed with black. And I want to know if that's too dark, but just sort of get in the darkness in the water. And I'm also being careful to create a sharp straight edge here in the back. Goats where everything finishes off is also a bit here. So just a little bit darker off in the background there. Okay? And then it just sort of comes down. I'm going to cut a little bit around these rocks, just so I can preserve their shape for a second. And as I move down the page here, this is where I just lighten off. So you can just add water to this mix. That's how you can get it to just lighten slowly as you move down. More water. You know, it's pretty much all water at this stage. Yeah. Tastic. Now, I'm going to start putting in some of these darker values now. So large mop brush for this. And I've got some granulating black value, maybe with some brown. Here, let's just drop this in here. I want all this stuff here to be pretty dark. These bits up the top here as well. Need to have a nice sharp edge, too, like that. Dropping a bit of water through there. Okay, this has to come out of the sky a touch, so I really want to get this darker, even at the top here, just some darker paint. But I've got the paper on a bit of a tilt. It helps to carry this water down. And form some interesting downward sort of patterns of the water running. You can also drop in water to encourage it to mix. Now, this whole area is going to be a bit darker as well, especially this part. I'm dropping in that paint. There, I'll have to darken this rock a bit more, as well. I just don't want it to go all the way through. So look this little detail here for the rock in the distance. Alright, bit of that, bit of maybe purple through there as well. Then you've got these rocks below, which I'm going to really make quite dark too. They're forming kind of slightly furry edges, which is fine. It's going to help to make it look like you've got these rocks that are partially submerged and this mist and things around. But at the same time, you've just got to be careful because you can lose what you want to imply through here. So, look, let's just do what we can. When you're painting wet into wet, at some point you just have to accept that it's going to do what it wants to do. Okay. Good. Dropping some more painting up the top, maybe some extra dark darkness as well here, a bit of granulating brown. I'm going to make that top part like a bit darker as well. Sort of dropping in paint in places and letting the wash kind of carry downwards. This bit sort of carry down a bit too much, but that's fine. So here I'm really going to start darkening up this whole area, get connected on with the water, the edge of the water there in the background, and tilting the paper downwards so that it does not mix upwards. It sort of just finishes off and that's it. Bit of bluish paint, purplish paint, and a bit of this brown paint in there as well. Introducing water. If I can just tilt the page this way as well, I'm going to hopefully getting effects, interesting granulating effects running across the page as well. But also being careful not to have it go too far upwards to preserve this whole area really make it pretty dark in some spots as well. This is not reading as dark as I would like it to. Like this whole spot should be joined together as one. Like that. Drop in more, flick in some more of this paint. Let it do its thing. Just a bit more on the tips. More details on the rocks. Just dark paint, really. To help bring them out. Again, This is neutral tint or pin's gray. They work quite sort of in a similar sort of way. But it doesn't granulate as much and is really dark because of that. So I'm just dropping in some more little indications, you know, maybe up the top there as well. Just need this to appear a bit more like a silhouette. Like a kind of secondary layer, I guess, here, and the front. Um, I'm going to try to drop in a bit of paint to the left here. The clean bit of water, drop in a bit of kind of paint really in the water on the edge of the painting to encourage some of this to maybe run down the page. Okay. I want to create some little marks and things going through. Flick some water on as well like that to encourage it to move. It will dry. And you can see it's creating some impressions of rocks there on the left hand side, where the water has moved through and carved out a little bit of something. I want to just do it more here, maybe, break this one apart as well. You have to wait and be kind of patient with it. That one up It's just a little bit. I just wanted to break that one up a bit more here. It's kind of implying a bit of light there, which is good. It starts to look alright, I'm going to leave it because this is so difficult to control, even if I get something like what we have here on the left. I want to preserve it. Some darker spots behind here maybe. Break this area up. Touch darken some of these rocks. What's more, Okay. So more darker paint just running down here to further separate out the water because I think this has gone a bit out of hand. Yep. That's better. This might just run down the page a bit like that. All right. We'll leave it to Troy and should be done. 54. Day 25: Iceland Mountains Drawing: Let's go ahead and get started with the drawing and going to put a line in roughly just above the middle part of the page. Right about here, just to give enough room to, you know, get in that white house in the background as well as leave a bit of room on the top of the scene for those distant mountains. The first thing I really want to do is just get this house in it's just like smack bang in the center, a little bit to the left. And I actually zoom into the reference photo to make sure that I've got enough detail in it. That's the sign, and then you've got the roof, which is sort of like this triangular sort of shape like this. And, yeah, it's quite important to make sure this is more accurate, given that the rest of the scene has a lot of softer and less detailed parts. This part of the rooftop here has a chimney, so I'm going to just pencil that in as well. Just a little indication of that chimney sticking out the rooftop there. Okay, the back of that house. Now just sort of coming down like that. Okay, it's really just the front of the house that's catching a bit of light, and then you've got the right hand side, which has, you know, this sort of area at the back. Let me just also, I just want to make that line a bit straighter. I mean, apart from that, the rest of it, I think we can put in afterwards. I mean, there's a whole lot of detail for the windows and stuff, but we don't need to worry about that just yet. On the left hand side, there is a car. You can barely see it, but it's just like a truck or something here. I'll just put in a little indication of that at the end of the day, I'm not fussed with those small details. We've got these sort of mounds of grass, hilly kind of areas, which I'm going to start indicating there as well. But there is also a house here in the corner of the scene. Let me just see if I can why not just indicate a bit of this something there on the left side as well. Whether I include this later, we'll see, simplify that down a bit. In the mountain here on the left, it goes up. It's kind of a bit jagged, as well. You've got the sort of bits that stick up, and then you've got this sort of bit here, top part of that mountain there, and then it comes down. A lot of this stuff, again, you can sort of alter it a bit as you paint, so don't be too worried. I'll make this mountain go a little bit behind the house, as well so that I can create a bit more, you know, a bit more darkness. And there is also, like, some grassy area there, a bit of darkness, the bottom of that mountain. Then here in the back, we've got, like, another you know, grassy sort of mountain, and then that runs towards the back on the right, as you can see here, just a little decation like that, then it just dips down to the right, okay? Fantastic. There's grass and there looks like there's something growing here, some bushes near the side of the road. You know, this mound here as well, that needs to be done all in wet and wet. But I want to put in this little edge here. Now, you can see where there's these cliffs on the right hand side. And they kind of just run there and you've got, like, green on top, and then this darkness on the right hand side, and these rocky kind of areas which we really need to imply, okay? And here as well, look, it's just sort of these sort of jagged areas almost, where you've got this cliff edge here as well. Look at that. It comes really close to the front of the scene, and it disappears off like that, okay? And these are just like these, like I said, these little cliff edges when the grass is green grass, it sort of comes in front of it a bit here and there. Okay? Again, it's a very loose drawing. In here, as well, there's, of course, more rocks, more darkness. There's another sort of shape there, okay? And more rocks and things here, a bit of darkness. A lot of this stuff we'll be able to get this in with a lot of wet and wet work, a bit of darkness here, and then you've got this sort of bit of rock coming out like that, and then a bit of maybe darkness on the right hand side, okay? Remember, the shadows are running to the right, so the light sources to the left. Here there's a hill, and that's casting a shadow, as well, to the right. So we're going to have to imply that that stuff in there. It's going to be a bit of darkness in there. We'll be able to get that through later, same with this grass. So no need to worry too much about that. The reference photo actually has a bit more grass at the bottom, but I'm not too fast about this. I think we should be good to go for the, we should be good to go for the painting. 55. Day 25: Iceland Mountains Painting: Alright, so first things first, I'm going to get in a bit of cerulean blue for the sky. Really light wash up cerulean blue, starting off right here. It's about maybe 5% paint. The rest of it is just water. All right. And I'll just add water as we move down the page. Okay, you want to keep this really light, you know, we can have some darker bits up the top, but as we move down, I think it's best to keep it a bit lighter, just so that those mountains can really show through. I think that's going to be an important part of this scene. There's even a little bit of snow on some of those distant mountains, the one in the center there, so might leave that one white. Let's move this wash down. Okay. Fantastic. And I might just drop in a bit more blue in some areas like here. We've lost a touch of that sky that was showing through. So I'm just adding a little bit of darker cerulean there. Like, there, what else can we do? Put a bit here, as well. Okay. But I'm leaving most of it as is. Okay, let's have a look how we've gone. Alright, let's give this a dry. Alright, let's work on the second part of this painting now, and I'm going to be picking up some green, some darker green, maybe a bit of blue or purple mixed in here as well. Now, the left hand side of this mountain here, needs to be needs to be green, but still lighter than the right hand side. But this terrible habit of just flicking paint around, so I've got this tissue here just to mop up any stray spills now. I'm putting in a little bit of yellow into this green to the left hand side so that I've got a bit of vibrancy and I guess, an indication of light on some parts, okay? So here you can see going around. I'll put in a bit a little bit of black as well in some areas. You can see that it's actually quite dark. It goes up. Most of it is just, like, a lighter, wouldn't say a lighter, but it's definitely lighter than the right hand side. Okay? So just taking my time here to get in those little details. Okay, need a bit here that chuts out. And then when I get to the top, it's kind of darker here. That right, just trying to mimic the features of this mountain. It's tricky. Okay. Let's continue down that left hand side of the mountain again. I just pick up some more yellow and drop that in some yellow ochre. Also here on the left hand side to sort of mix in with that green. All right. Let's grab some black. I've got some leftover black and a bit of purple, and I'm going to just drop some of this into the right hand side, mixing, you know, also some normal green into this area. Now, the right side of the mountain must be darker. It's important. And I'm also putting in a bit of a little bit of brown. Okay? This is, I guess, this volcanic sort of rock that you see show through. And it needs to be darker in some parts, and I'm just dropping in that darkness wet into wet. I'll probably have to go through again, once the whole painting is dry to just add in a bit more detail that detail to it after some sharper detail. But for the time being, this is going to be fine for that first wash. But notice how I've kept a lot of the greens. Still, you know, on the left side, and even on the right hand side, it's not completely black. It's just it's like a really dark green. You know, as we move further down, as well, just over here, cutting around that house down further down, you know, I'm just adding more paint still, bit more green here. Sometimes you can just add in a bit of purple or something, as well that will just make it look more interesting near the base. And I'm going to add in a bit of yellow to this mix, like a more vibrant sort of Indian yellow here. Again, my hope is to just sort of lighten a bit down at the base. So you get a bit of light maybe catching at the base here. And you've of course got this house there in the distance, which I'm going to have to cut around, again, just using this same paint, and it helps to have a nice little point on the brush. You have to leave that part of the house white, okay? Something there could be a car, as well. So I'm just gonna leave that too. Okay. Now let's have a look. What's going on over this side? Well, it's starting to get lighter as you go down the page. You know, this sort of edge here, I've left wet for this reason, right, so that we can sort of continue this down. But I also want to make sure that we've got the right hand side of this scene in. So I want to put in more green on the background in the background here. I will actually probably just make this all green, this mountain here in the distance. I sort of thought of leaving a bit of snow there, but it does look I think it will just look better if I keep it more uniform. So cutting around again, J, this is the toughest part where you're just being so careful to cut around the house. And, um, this part of the mountains on the right side are not as dark. So I've added more water to dilute out that green. It's probably about ten or 20% paint at this stage. Still cutting around stuff. Okay, let's continue moving to that right hand side, a bit more green, bit of darker green as well here as we reach that right hand side. I put in a bit of brown, as well. Why not in that section. I'm trying to just rewet some of this stuff down here at the base. I don't want this to dry off until I'm ready to go back into it. Maybe a bit of yellow, a little bit of yellow here as well, down the base. Okay, let's continue on. This should be at kind of more mottled as well, like some more maybe a little bit darker green in there, just let it move around. Okay. But I also don't want to spend too much time on this. Let's just continue this on. Following that little drawing that we had in there before helps to sort of keep it simple. When we move down the base, I'm just going to drop in a bit of darker green. There's also some black, which I'll feather in as well. I do see some striations there you see just sort of coming down, they're very, very subtle. You know, I'll pop in a bit of brown. You know, see how it just, you know, we're able to just imply some stuff there in the background without overdoing it. I think that's something you have to play around with. Like that. Just looking at the reference and, I mean, rather than even looking at it as a shape or anything, I'm just looking at the value, the color in there and whether it's light or dark and just following through. So good. Let's bring this wash down. Now, over here, we've got a lot of lighter colors. I'm mixing up a bit of green with a bit of yellow. Vibrant sort of e Let's drop this in. That's not light enough. I'm going to have to put in more yellow. Really want this to be lighter and just mix in more water if you feel that it's not reading correctly. There we have it. Just mix that through. I want there to be a bit of a break so that it's noticeably lighter down the page here. Alright. Connect that. We, what's that car sort of left some bit of white there. It doesn't matter. Yep. The bottom of this house, it kind of goes up, and it's not really so even. It just pops through like that. Good. But yeah, basically, this connects downwards, and it's lighter. Alright? So we have to be mindful of that. Alright, and just use more water as you paint this part here. I always like to paint from top to bottom like this. I find it a lot easier, and that way, nothing dries inappropriately in terms of drying too quickly, okay? So this is the edge of these cliffs, and we've got this green here. All right? It's this yellow mixed with a bit of that darker green I had. I'm just trying to find roughly where those cliffs were. The drawing a lot of the time gets lost in all this. So just look at the values. We've got some kind of green here, some more green here. In fact, there's a bit of water showing through there. I don't know if I can put in a bit of blue or something in that section just to imply maybe a bit of water coming through, but it's not necessary really. And more of that green there does turn actually a little bit browny as well on the right side of some of these rocks. So you can see, so I'm just dropping in some of that brown. But look, mostly what you want to try to do is to make sure that you've got this grass showing through. So it's just yellow and green mixed together, like that. Here we have it. That's more of this green there coming through. That's part of the sort of this chasm that you can see where a cliff descends downwards, but the light is just bouncing off all of this area, which is amazing. So we have to get in yeah, like a general wash over the top of all this stuff first. Let's go to use a larger mop brush to do this more. It's just quicker to do this. Good. Uh, yeah, look, it's just that same green, maybe a bit of yellow still mixed in there. Yeah, I'll keep it light, keep it safe and have a lot of light running through that way. And then we get further down. I like to put in more darks. So a bit more darker green here at the base. Okay, let it sort of feather in. So we've got a kind of slightly darker area at the base. Look, a lot of the darks anyway, they're going to be going in. There's there's no avoiding it. We're gonna have to drop those darks in pretty much straight away. But what I like to do as well is to work on these kind of brownie sort of bits. So I've got some you know, a bit of raw umber. I'm mixing that in with a bit of got some panes gray, maybe a little bit of white guash as well. Let me have a look. There we go. And I'm just going to drop some of this into this area and tap on to where the green is. Can you see just where that sort of greenish part is? And actually, you've got some lighter parts of rock as well. It's not just all, you know, completely dark. So so a lot of this, you kind of have to use a bit of your imagination, as well, but, you know, that's just implying this kind of chasm below. If there's some white in there, don't worry too much. We can leave some of that white in. It doesn't have to be all the same. Okay? So this is kind of implying the lighter brown bits, yeah. Because the side of the cliffs got lighter brown bits in there, bit of guash, tiny bit of this white guash as well. That adds a bit of milkiness in there, like that. Okay. Really? The rest of all this is pretty pretty dark. But of course, you do have some in there, like some of this, you know, brownish value in there. Okay, I just put in a bit of this grayish brown value there, a bit of darker value here, just a bit of black. Okay. Now, running through here, this is where it gets interesting. I'm just going to start putting in some darker color to indicate this area. Whoops should have this cliff sort of running downwards a bit more like that. But look, it's just dark values in here. Picking up some black. So this is a granulating black, by the way, which was going to hopefully form some interesting little effects in here. Alright. We'll probably have to go back in this again afterwards, but here we are. Connects on here. There. There. Alright. And here, this part of the is just basically green and black I'm using here. This part of the hill to the left has a soft shadow running to the right, so I'm going to just drop in some of this paint. Probably use a larger mop brush for this. It's gonna be easier to do it. And the trick is also to leave out some of the yellows in there. Don't make it all the same color. Okay? The light has to be left in there. Otherwise, it's gonna look funny. It's not gonna look like that there's any light coming through the scene. You know, there's something running there almost like a tree that's like I don't know what it is, but to the right there. This needs to be darker. Just some of this area near to the cliff where it goes down, and you kind of just continue working on this a bit, as well. Let's have a look out the back. You know, there's more, you know, some more greens that I could potentially drop in like here, you know, this near this sort of area, that's darker, bit of darker greens there, here as well to the left. There's some shadow here or something there, there, you know, near to this cliff, as well, you've got some more sort of undulations and things like that. There, you know, I'm picking up really thick paint as well. So it's mostly just darker paint in there. There's not much, you know, there's not much water in there at all, just to create that extra dark effect running through. I'm were of this stuff starting to dry off soon, which is good because I can add in an extra layer of detail of complexity through there as well. For the time being, just soft marks, you know, indicating, like, these shrubs and what have you, most welcome, you know, even darker marks running through these shadows here the shadows are not the same color all the way through. The same valley all the way through there's, you know, it's actually a few different colors and values, so it's tricky. I'm also trying to make sure I preserve this bit of light that's running across the top, right? You got some more shadows and things even here underneath this house, there is a bit of this darkness there from the house which we will leave in. All right. A bit of this diluted black and maybe a bit of purple to just drop in here for some again, darker values that can hopefully show through, create a bit of an effect, a bit of a granulation type effect. I'll bring in a bit more here as well in the corner. I think just having it a bit darker in the edges will help as well it's tricky because you're feathering it in and you're trying not to overdo it as well. But at the same time, you know, if you when the paint looks really, really dark, often, that's, you know, it's going to dry a bit lighter, so you have to sort of anticipate. And I put in a bit of purple here because the purple, just I think sorely needs a bit of something else in there. You know, look at this stuff here as well. This is all the same kind of deal. And this rock may be a bit of, you know, brown to the right side of that rock. Some of this stuff I'm actually making up now because Yep. Kind of making up some of this rock, actually. Doesn't matter. That can be like a sharper one here in the front, then a darker brownish rock there in the back, soften off some parts there. I'm waiting for this stuff to dry so I can really get in some sharper bits running through. But again, all this stuff is still wet so I can, you know, feather in some stuff, okay? So darker bits and pieces. Yep. What else? Here, there's a bit of darkness. As well, just this section there, there's sort of you can see, just runs to the right all the way to this, uh part that opens up. There. A lot of this is just, you know, implying what's in there. You don't want to start making it look too detailed because otherwise, you're going to draw away from the rest of this scene, you know, This black that I've got in here now is perfect to just create contrast to show that there's this sort of dark rock there in the back. So you can see, probably I'm going to use some Payne's gray to really emphasize this as well, there's the sort of more rocks there to the right. Can you see that? Just sharper sort of marks. Some of this stuff would have started to dry off as well. And a neat little trick I like to do is to scratch off some paint. Is it time? No, you've got to go to wait for things to dry off or touch before you do this. But it's sort of working over here. Um, it's just areas like this that are just almost dried. You can sort of start to see, just scratch off a bit of paint here and there. Uh And this, of course, helps to indicate some tufts of grass, a bit of detail running through here. Not all of it will sort of scratch off and look lighter. Some of it, you know, if the paint isn't completely dry, it will just run back in and you'll be left with almost a darker line. That's also not a big deal. You want some changes, some variations in there. You know, 56. Day 25: Iceland Mountains Finishing: I just want to drop in some more bit of something here as well, while the paint is wet, a little bit of extra bush or something here in the front. Another thing I can do is if you've got a little spray bottle, just to spray the section down a little bit again to encourage the paint to kind of move around there. Good. I think what I'll do is work a bit on this house, some small details. So the rooftop of the house, a little round brush is going to be good. So with the small round brush, I will pick up some purple, maybe a bit of purple, like a cooler color. Is the background dry yet? Almost. Let's see. Okay? That rooftop is pretty dark, so we need to get that in. And those mountains in the back should be dried. So when I go in, make a Yep, there we go. Nice, sharp mark cut around that chimney. What bring this rooftop down. It's got to be dark. There we have it. That's the roof. Very simple sort of roof like that. And of course, I've forgotten the bottom bit, but we will put that in afterwards. There's also, you know, these little windows and stuff on the house, which, again, you need to imply, but I'll put in a bit of this left side of the house. This there's a bit of darkness running to the left like that as well, okay? And here goes nothing. You just got to be quick with this and not overdo it. Okay, so that it looks like it was just kind of painted on in a quick flurry almost like so that otherwise, if you start to mess around with these windows and things too much, I find it it detracts from the restless scene. So you do the best that you can and then just simply simply accept it like that. You know, the right hand side, there's actually a couple of windows or something there. This is the car which I almost forgotten to put in. Like, I can just imply that like something there, you know, here's the thing as well. You've got a bit of this road that runs through the scene, which you can dry brush a little bit of that on. Of course, this area here indicates the road, as well, these, like, bits of shrubs or bushes just running across like that. So I'm just implying a bit of that. This is dry brush. You're kind of adding on some little details. Now, this is the building here, and this needs to be another building to the left, I mean, this needs to just be darker, I think. I'll add in a bit of h gray in there. I don't want it to come through too much. Okay, drop that down a shade. And the rooftop, look simplified, something like that. Let's have a look. What else do we have? You know, it's that same sort of, you know, bits of darkness. I'm using the side of the brush to indicate some of this in there. Okay. It's a bit much. You can also just give the surface a spray with this spray bottle. To help the paint dissipate move through a little bit. Okay. This last, you know, thing that we're doing really is just putting on the finishing touches, the final finishing touches. And essentially in this scene, it's all the real dark parts. So more black here, maybe here. You're also doing a bit of scratching out work, too. Now, I really like that mountain there in the background. I'm I don't want to put too much paint over the top because it just looks. I really like the look of it. So, kind of, like, thinking what to do. I think I'll put in a little bit of a little bit of, like, dry brushing over the top for parts of it, but at the same time, remembering to preserve that previous color previous wash in there. Okay? This is just to get in an extra layer of complexity with these, the darker side of the mountain, the right hand side of the mountain. There's even some, you know, bits here as well, like littlestrations on the rock. There, look, it's just going to help emphasize the light on the left hand side a little bit more. I think I think it's a good move. But yeah, like I said, I don't want to get rid of all this, detail here on the left side of the mountain, so I'm just being quite careful with it. Okay. So parts there. Got it, good. And I will soften this edge at the base with a bit of water. Let's make this mountain come forward. It's a little bit like this it hits the house, the left side of the house. I a little bit of bluish color on the right side of the house here. You just need a thin wash of blue or something too impolite, the shadow. Yeah, go too far out there. On the right hand side, maybe the chimney will have a bit of it, too, like here. Like that. To look. Sometimes you get up bit, maybe bit under the roof. Like that. Okay. Let me just flick a little bit of water or drop in a little bit of water through some of this stuff here to encourage maybe a bit of running bit of running of the paint. Yeah. I don't want it to move down too far, but just something there. Bring back a bit of that granulation. You can do it sort of in some of these other parts as well. Drop in a bit of water and move it around a bit and see what happens. Right. So this scratching out effect again, just using the little blade and I'm going to just scratch out in some areas cross the scene and hope that it just helps to mark out this parts here in the foreground, you can also put in larger little scratch marks like this to make it look like there's some, you know, longer strands of grass in the foreground coming through. Okay. Do we need a little bit of darkness underneath those mountains there at the back, a touch of dry brush. Yeah, just a touch of dry brush back there, I thought it would be good cause there's actually a little darkness there running as well. And of course, the shadow for the building just gonna imply that. With this brush, you can kind of already see it. Bit more darkness, way too dark. There we are. This house there to the left is gonna have a bit of darkness running to the right, as well. There's not all too much really to imply in this house, other than maybe the rooftop like that. A couple of windows or something, you know, something simple like that. I don't want to make that a central part of the scene. But, yeah, I still want it to read like a roof or something. So that's what I've done that hopefully should be enough. Okay. Let's leave this to dry a little bit. Dried it off a little bit, and I'm gonna continue on to just scratch off some little bits and pieces near to the cliff areas. A lot of it's kind of dried now, so there's not much I can do, but I thought some here on the left side would be good. As well, break it up, break this area up a bit. Uh This area is becoming a bit odd. It's run down the paints run down slightly. We'll put this kind of bunch of shrubs or whatever here back in to just make it look like a Like, there's a much stronger impression running through. It's the same with some of this other stuff, you know, you might just get really dark spots running through some areas, so the side of the brush can help with that. Soften down if it's a bit too obvious. Okay. At this stage, because the paint is quite dry, a lot of the marks you add in now can look too obvious. So you kind of soften down in parts Stride off again. I've got a little bit of white wash here. And I'm going to be using a smaller round brush to add in a few little highlights here and there. Now, the first thing I want to do is probably this there's like a muck pole or something next to the house. If I can just get that in, it runs downwards from about here. All right. Something there. Okay? I'm not exactly sure what that is, but it is there, there are a few little white marks here as well. I don't know. They're just sort of objects, I suppose there. Yep. You might have a bit of highlight there on the roof, you know, from, you know, a little bit of something. The light to the left, just a little bit of that, you know, it'd help. Don't want to overdo it. Same with this one, maybe just a little Something like that on the roof. Now, if I mix some yellow, a little bit of yellow in with the white, now create maybe some little bits of grass, like, some lighter bits of grass, I suppose, just running through in areas. Um, lick a bit of this through, you know, especially in these areas where there's kind of some white I left on the paper, and I didn't mean to leave that on there. But, um, you know, if I can just transform some of this into some tufts of grass or something like that, I think that will look interesting. Um, in parts, I can even mix some green in and just make it kind of, like, some lighter green bits, okay? Um, I can put some in here in the foreground, like a um, some little bits of grass going upwards. These I kind of overdid that bit, but it doesn't matter. Just keep it randomized. Just helps to kind of add on a secondary layer of detail and also implies this kind of light source coming in from the left, as well. Okay, it's not 100% necessary, but I think it's a nice little finishing touch in some spots anyway. The trick is not to overdo it so that it takes precedence over all that previous lovely kind of brushwork and the granulation and the larger kind of washers that you see. Fantastic. I think we will call that one finished. 57. Day 26: Tallinn Drawing: Okay, let's get started with the drawing for this one. Now, what I want to do is just put in a basic line here for the the ground. And I've just positioned that a little bit below, about an inch below the center point of the page, like that. And I can see down on the left hand side as well, you've got this kind of market stall here. It runs down. And there's a bunch of other roof areas like underneath as well like that. You can see there's some white cloth, which I can just quickly imply. I don't need to do too much. Inside the stalls, you've got a lot of different bits and pieces like on the ground, there's these little pots and you've got flowers. Inside everywhere. So don't need to really don't really need to indicate that too much, but just a quick few little lines there. I thought I just might as well put in this person here while I'm in this section and you can see sort of legs running towards the front like this, shoes, and lady just sort of standing looking towards the camera. And kind of arm down on the side. Okay. Now, the background area, you've got a whole bunch of these buildings. Is a medieval town. So you've got this rooftop running like that for that sort of building in the background. There's also a large tree here just a just obscuring a lot of the left hand side. So I don't need to do too much there, but look on the side of this building. I've also got this bit of brickwork there. There's some windows, sort of stuff here, running towards the center of the scene. Here, you've now got more details. You've got this another sort of rooftop here. Sort of just looking and seeing how you can I guess, put in some of these little details and simplify the buildings down. All I see when I draw these things are just rectangles, you know, not trying to get in any, you know, really detailed areas. Now, this, you know, tower is pretty important, so I just have to get that in here, and it runs up like this. And, of course, you know, it doesn't have to be exact, but it does help a bit of accuracy here. You know, the sides of the towers, you can see there's like a little few bits here. As well, okay, let's just run that down like this. Okay. And in the back here as well, there is a secondary tower there just runs about here. Okay, leading the viewer through the center of this whole scene, like that. This one's a little bit taller actually runs about there and then comes down. Let's try to get this one in as well. Like this Good. Fantastic. Now let's move this down. It's like a pointed little tower like that. That's kind of all you need to imply there are some details up the top, as well, which I can just quickly pencil in, but it doesn't need much in there. There, you've got these windows and I can just sort of quickly indicate, like this. And you've got this other building that sort of cuts in front a little bit like that. The paper that I'm using is a little bit wider, so I'm going to have to maybe make some stuff up on the right hand side just to accommodate for all this. Oh, here you go. There's, like, a little archway underneath there, like that. There's people just walking around everywhere as well in front of lots of little people. And this is just good to indicate here. In the back, there's another building, and, you know, same with these windows. There's like four windows there. In the back, and you've got the rooftop. Interesting sort of rooftop runs like this. And then it's, like, a, you know, I could detail it more, but I'm not bothered indicate some little chimneys or something like that. And on the right hand side, this is where you've got a bit more detail, some more buildings running down like that. There is this sort of triangular style building here like that. I extend this a little bit more so that it's going to look more detailed and fill in more space. Okay? That's going to have to run downwards here. No, I like this. There's this nice light here. Look at that. Really golden looking light that's just sticking out like this. You've got in front of this building some kind of you can see this little shade area like that. It's, you know, you got the window of the shop. Here, just underneath, there's a bit of darkness there. That's the bottom part. And here you've got, like, a tree, so it's not a big deal. But, you know, these little windows, you see here, I'm just going to pencil in a few windows, and I don't know if they're actually there or not, but just a way to simplify it and make it look like there's more detail in there. And I think with the ground, as well, I will simplify this down because I see there's more stone there to the right, kind of more textured stone, whereas here, it's a little bit more smoother modernized. So I'm going to make that all hopefully the same and some more people. Let's just pop in some more people here. You know, you can see people just sort of walking around, doing their thing off in the background. Of course, you've got some more buildings in the distance as well. So a little silhouette of those buildings there. A lot of buildings that just sort of overlap with each other a lot as well. So, yep, I'm just trying to get an indication of all this stuff. It's kind of the front part of the building, front facing part of the building. The rooftops kind of darker here. You know, these other buildings they just kind of get smaller and smaller off in the distance, but at the same time, you've got some little roof areas like that that just kind of stick out. You know, you're just kind of figuring out little bits and pieces here. Like this. And they all just disappear a little bit off into the background there. Of course, you might have some additional details off in the background like that. You know, there's a tower here. So, for example, I can just simplify this gonna get in some kind of tower back there. I believe there's another tower here I forgot to put in. So just kind of get that dome underneath and then I'll put in some of this stuff here and the top of the tower like that, like that. Okay, so let's have a look. We're looking right. I will put in this person as well, just here in the foreground and just, like, walking into the scene like that. You'd see one leg behind, one leg in front. More people just standing by and looking at this, these shops, I guess. And we can, of course, you know, put more people in here in the background and legs, as well. In the center of the scene, I find this helps extra. Just just sort of get in a kind of crowd of people, you know, just draw them in like this. Oh, put this one up. These two up a little bit too high. Um, that's okay. I might just reduce the height. To about here. It may look like there may be a bit further in front of these other people as well. Go. There we are. Good. Okay. I think that's good for the drawing. Let's get started with the painting. 58. Day 26: Tallinn Painting: Alright, so let's get started and put in some very light colors for the sky. And I'm just going to pick up a bit of grayish value, maybe some purple in there. And let's just drop this in. It's kind of like, you know, slightly cooler colored sky, I suppose, you could call it just up the top here, but still kind of grayish. Okay. I'm going to go all the way through, actually, through the top of this section there, look and just touch the edge of those buildings, but not bother too much with them. Now, this has to be really light, yes, so it has to be pretty much pretty much like 5% paint, if anything, and the rest of it is water. So the majority of this is just water, and the buildings actually darker than the sky. So we have to make sure that we keep this nice and light. Lots of water. Okay. Going around the edges like that. Okay. Fantastic. Now into the buildings, we're going to start putting in some little bit of paint. Okay. I'm going to put in a little maybe cloud shape up the top. Here's just a bit of darker paint in some parts. Just up the top, maybe a little bit of something. Okay. Like that. Okay, so let's go and get in these buildings. So a bit of this color here, which is burnt sienna, a bit of burnt sienna, start off at the top of this tower. I've got to be a little careful with it, but I still want to make sure that I follow the general style of this scene and not make it too detail just yet. So there we go. You got the top of both of these, and at the end of the day, they're just a little bit warmer, if you notice. And we can move downwards now. Let's get in some yellow Ocha bit of yellow ocha. Actually, we'll mix this with some purple. There we go. That looks better. Like a yellow ochre and purple mix right there, get that I'll cut around this figure, as well. Here, let's use that same mix with a bit of that yellow. Yellow and purple make a very good combination, especially when you mix them together, they kind of just subdue each other and go to create this color I'm looking for here that's sort of in the middle. When you get down the bottom, I like to just put in a bit more purple sometimes to just change things up a bit like that there. Now in the background, we're going to follow the same sort of color, but I'm going to mix in other kinds of yellows as well. It's all pretty subdued, though, at the end of the day. I don't want too many really, uh, really dark and vibrant values in here. So this is all kind of like one big as you can see, one big shape that I'm trying to imply in the background. And if they all come through looking kind of similar to each other, I'm not fussed with that at all. Okay, as long as they blend a little bit with each other, I'll be happy with that. Okay? These are going to have a bit of purple or something again. I just want to, you know, just change this up a little bit. It almost looks like some shadows, some soft shadows on the buildings, which is good. In the rooftop here, I will put in some more of this sort of purplish color for this rooftop area there, let that sort of seep in and do its thing. This might go into the tower a bit. I don't I got to be careful with that. Not a big deal, but, yeah. Here, I gonna put in a bit of grayish value or whatever for the rooftop areas there. Some of this might seep through, seep downwards. No big deal. And, of course, this like a tower there in the background. I'm gonna get that in at the same time. Okay? Whoops, doesn't look too much like the reference, but it's no big deal. Okay. Alright. Now we've got this darker sort of building to the left. Let's get this darkness here. And this building here to the right, which is a bit lighter as well there, and then I'm going to put in a bit of darkness in the center here. I really like to get things to mix and blend with each other. And this tower here in the background, I'm just going to get in again with this brush, something there in the back tower in the background, you know, something like that. Okay, remembering this down. It's kind of adding in a bit of this brownie value here and also some of this yellowish value coming down as well, like this. On the right hand side, I'm going to start putting in some more of this lighter value to the Yep, there. And the rooftop again, I'm just going to darken that down a little with this grayish value. I've picked up from the leftover paint on my palette. Okay. Good. Another rooftop area here or something like that. I'll bring this washed through. These buildings here to the right start looking a bit more yellowish, so I'm going to add in a bit of yellow ochre. Bit of yellow ochre here, and I'll doll that down again with some purple. Parts. Moving down the page, some more of this yellowish paint again. Trying to cut around these figures, too. The. And there are some little highlights, little bits of yellow, like for this, like tiny area there and underneath this little area that's like bit of orangy yellow color. I'm going to drop that in. Okay. This little shaded area here, get that in like that. The rest of it I can just put in with some of this yellow ochre. And the purple does help as well just in spots. Like I said, it's a great way to balance. That. Okay, so it all kind of comes down towards the ground here anyway, like that. Okay? There it's up here, more of this rooftop sort of stuff, which I can imply. There's also some trees running through there, which, yeah, we don't have to bother with too much. Okay, now, left hand side, I'm going to again just get this all in in one quick swoop, like that. And I know there's some reflections and stuff on top, but I don't want to actually put them all in because I think it's just going to look a bit too stark. Okay? But here is this sort of left hand side, and there's going to be trees behind there, as well, so I will get them in in just a moment. Okay. Once that dries a little. But, you know, here, you've got a whole ton of different colors. You've got, like, yellows, and it's really just the colors of these flowers, if you think about it. Yellows. You've got oranges, all kinds of stuff that you might want to just drop in indicate some of this in there. Again, I'm not fuss with all the little detail. I can get this in with a few brushstrokes, it's going to be better and imply something is there. Oops, I should probably have left a bit more of space for those indication of what you call it little bits of white, but that's okay. All right. So moving on to the ground now, I'm going to have to put in some details for the ground. I'm going to use this kind of purplish, grayish color. Leftover. And I'm going to drop that straight in like this. Okay? And also to try to mimic the sky a little so that this light from the sky comes down. Now, this stuff is a little bit wet in the building, so some of this will run. That's no big deal. Okay? But we want to bring this sort of light wash down the page, okay? And you got all these flower pots and stuff to the left. No big deal. I'm just gonna leave something white, and I'll put in details afterwards. But, uh, Yep. Bring this down the page like this. And the trick really is to match the sky match the sky. Very light wash. And basically just start putting in some downward brush strokes for the people. And I've just got some darker paints, kind of like a purplish color. Again, drop this down. Do have smaller brushes that are going to help, smaller round brushes. There's this guy here. You've got to do this all while the paint is wet as well. You don't want to wait till it's too late because it's gonna look very, very, yeah, too obvious. Okay. He's ones here in the back. Look, now it's just nicely running down the page like this. Okay. Probably should just lighten up some of this other stuff here, or darken off some of this other stuff here anyway. Like for the you see just in the background, this tower is casting, like, quite a darker shadow there, reflection downwards like that. So let's just try to imply some of that as well. Get these reflections and things to run into each other. It's difficult because these figures are so small, so far behind. Okay. But look, we can get this effect in just dropping the paint and letting it run downwards. Yeah, maybe a bit here as well. Let's just, you know, a little playground with that. Okay. We'll let that dry a little bit, and I'll go into this top left hand corner now. And I'll just pick up my mop brush, a bit of green and a bit of darker purple. And I'm just going to drop this in like that. Getting this indication of the tree and what have you to the left, needs to be pretty dark, as well. That. That should be fine. Bit more darkness in there. Okay, good. A little dry off. 59. Day 26: Tallinn Finishing: Alright, time to add in some details to this whole scene. And I think what I'm going to do first is just pick up some darker paint, some darker purplish paint. And I'll work on some of this stuff here. So there's probably this rooftop that runs all the way here, all the way to the back like that. You know, there's also some of these, like, separation separators and what have you like that, as well. Okay. Areas in between the shops that are kind of darker like that, you know, you've got some of these pots that are just, like, sitting down like that on the side of the shops here, and they should actually have a bit of a maybe downward trajectory like that for just to indicate a bit of that, um reflection. Okay. Now, I couldn't get all these reflections in wet into wet, so we can still get a few in wet on dry. Again, this is all very, very indicative sort of work. So, you know, anything in there that might help to bring out some contrast is going to be fantastic. And, you know, there's even these little I don't know what they are, but these little bits just sticking through the side like that. That's dark. Yep. Yep. The top section, you know, here. Some verticals. Okay. Okay. Good. You really just, like, making bringing out details, little details. This is the roof of one of those buildings there in the background. I just wanted to bring that out a bit more. Now we've got these little windows here on the areas of detail for the rooftops that that we can, of course, bring out a bit. This helps to bring out the, the side of that tower to the right. Notice, I'm just using pretty much the same color. I'm not really bothering with much detail here because a lot of a lot of that previous wash I want to leave in there, that beautiful yellowy kind of color. I don't want to get rid of that. So here's just the windows just touch on. No windows, but you know what I mean? These little portholes and, you know, details of the tower that you can just quickly, like, indicate like this on the side of the the side of it. Now, here, again, a new opportunity that I can use to create some contrast on the tower like that. Here, there's a little opportunity here with this darkened spot, another sort of rooftop part here as well. Running to the right. Okay. These windows you can see here in the back. These little windows just appear through these little buildings in the background. So I'm going to just put them in like that. It's just purple. Just a little bit of purple paint. Okay, let's get some of these more of them in. Okay. Barely tell what is in there after a while. Maybe dropping a bit of brown or some warmer value. In some spots like here, I just think a bit of warmer value would be good. And this also is so that I can bring out the side of that tower there. Like, if you make some little darker spots around the tower, it brings them out like that. Hopefully it looks better once it's dried. Yeah, there's a lot of this stuff here in the background, a lot of these buildings and what have you. So again, you don't have to You know, you don't have to drive these home, but just have enough detail to make it look like you've got something going on back there, some little details. Maybe we can fix this tower up a bit. Okay, let's do this one bit of couple little sushstrokes like that. Uh, there should be another one here underneath, actually, like this. Building windows here to the right, simplify these windows down here in the distance. And some of this stuff on the roof of the building. It's all just a bit of purple, purplish color, mind you, that I'm using for this. H. Windows again and this little archway with some detailing. I just darkened down the left side a bit here as well, again, to bring out that tower, 'cause it's lighter. I just want to bring it out. It's not lighter in the reference, in fact, but it's just something I want to imply in my version of this scene. What we got here, these other sort of buildings running to the right, you know? So I'm going to try to indicate this here. Then you've got maybe some windows again to the right. There's a pole. This is, like, a little bit of shade here. Bit of shade, and then I could deal with maybe some darkening the top like that. And then underneath, I'm going to grab some darker paint that's dropped some of this purplish colored paint in here. The window inside of the window. But Okay, now we've got this tree to the right. We don't need to do too much with it. Okay, so I'm going to start putting in some details for the people now. It's really got to go darker with this stuff. I'm using some purple, and I've also got some neutral tint up the top, which I can pick out and put in for some of these figures, okay? You can leave some of them white, as well. I don't feel like you have to make them all the same colour. Like this one here, I could leave white. Here's legs, couple of legs like this. Okay, maybe here, leave that one white. Why not leave this one? Maybe white as well. Les colors sky and a bit darker. Great. This one here in the fronts like quite detailed, actually, but um, here we go with feet sort of crossing over a little legs crossing over, I mean. He bit of lighter blue paint for the shirt or something. Someone there another person here. Maybe someone here that Well, there's a person here that I'd forgotten to put in before, but like that, standing on a side someone back there, a couple of people in the distance there. The legs are important. They just sort of make them look more like people. If you've not got the legs in, they won't look like people. You know, even if you've got some quick little legs, something like that, can put another person here as well, you know it's quite a crowded day, so Okay, I think I can do with a little bit more like, downward brush strokes for these reflections. And I will just use a mop brush maybe for this or a larger round brush. Name color. And let's just try to get in a few of this these running downwards. Now, we've got already some wet and wet wet and wet kind of reflections, but this is gonna just seal the deal and make it look better. I think. Okay, great. Some little guiding lines would be good. Just running into the scene like this because actually, there's a lot of stuff going on in here, and this is just gonna help bring it out, bring out some of this detail. You've got lots of these little bricks and things also running through, and I don't want to um I don't want to make this too much of a big deal, okay? But some Okay. Opposite running lines like this is going to sometimes make the scene look more interesting and balance it out a bit. Okay? In all parts, but just some parts. Because the ground is yeah, there's lots of little details and things in here, so something like that could be good. I don't want to overdo it, though. Just a bit of extra color, I suppose, here in the bottom of the scene. Okay. And I might just spray it a little. Encourage and encourage the color to just run a little bit. I feel like it's, um, needs to have a bit more of that downward trajectory. Yep. So that rainy days kind of look, which is important to imply to split up a bit so that there's some darkness in here. Well, touch red for some of the heads of these figures like here, here. You know, there in the background. You can just drop in a bit of color for the heads. Could be people in here as well. What? Okay. Quick little dry off again. Okay. We're almost done here. I just wanted to touch up some small bits and pieces. For example, this figure, maybe some dry brushing for the legs again. Helped to bring some of that little detail back. I really like the granulation of the ground and everything else that's in here, so I don't want to overdo it. Okay. This figure as well, maybe a bit of the detailing for the legs, Kate. Okay. Good. Now, let's have a look back here. There is some type of a lamp here that just runs down the page, maybe like there, so I can just put that in quickly like that. Same with the other indications of some lamps or whatever on the sides of the buildings. Okay. It's really just a quick little touch up, little bit of detail. You can add in, you finish off the scene. A simplifies legs down a bit like this. Have this run down the page. Bit more there as well. Just want some extra darkness. Um, in some spots. Maybe here as well. Bit to the left. That way, it looks like the towers are just creating a bit more of a reflection downwards to balance this a bit as well so that there's some darkness to the left. Okay, a little bit of hair and stuff for these figures, maybe for this one, especially, just a bit of something like that. Dark brown, then I'm picking up. So here for this figure there as well. You just pick up a little bit of that paint and see what you can do. Yeah. Just little touch ups. Sometimes just little bits of sharpness in here will bring back, uh, the impression of those people, the details that you lost. Um, I think a bit of blue or something in the middle here would be good. Just a little bit of something for these person here in the t shirt. A bit of brown for the hair or something like that. Yep, there we go. So it looked like a couple of people there. Legs bringing the legs back a little bit. Okay. It can be tricky to bring things back, especially when you've got all this amazing sort of mistiness and softness down below. You don't want to get rid of all that softness, so this is the only way to just do it just tiny little tiny little bits of detail that might look like something here and there. Okay. Great. And we are finished. 60. Day 27: Gotland: Okay, let's start with the drawing, and I'm going to put a line right through the center of the scene, roughly about here. And this is going to be where this house is on the right hand side where it's going to be sitting. And for the time being, I want to just get in this little kind of road you can see here that runs across. It's pathway, actually just running across, and then you can see it sort of cut downwards through the center of the scene around about here, finishes off. And then you can see the path just runs to that right hand side, and a little bit here on the ground, looks like the grass is starting to wear on the side there, but there we have it. We've got a general path, and this is going to be good because it allows me to now place roughly where the house is. So let's get that in. The house is just going to be this rectangular sort of shape or square shape at the base like this. And then on the top, you've got this triangular like rooftop like that, and I'll get in a bit of the side part of the house there as well. And, you know, there's a little something here sticking out on the left side of the house. Looks like a little rooftop area like this. You can just put that in there on the right hand side, you've got this other part of the roof that's out running down the side like this here. And at the base, there is basically a kind of a wall that runs around, runs up, as you can see here, and then it comes down. Yeah, the piece of paper that I'm using is a little bit longer than the reference photos. So it's going to have a bit of space on the right hand side that I'll have to fill in. There's a gate here and there's like door behind there, there is another sort of window here, and you got another window up the top there, so just penciling that in. There is some kind of chimney here, I think, I'm just sort of figuring out what that is. I think it's a chimney. Okay, side of the house there. So that's the house done. Of course, we've got some shrubs and stuff, but we've also got some other kind of houses out in the background there. There's, you know, you can see a bit of a rooftop there. And that's kind of like a dark rooftop, and then behind here, we've got some type of I'm not sure what it is, but I think it could be some kind of shed or who knows? And of course, there's some more details off into the right hand side there like this. I'm just going to simplify that down a touch. Okay. Just simplify that down. Like that. Okay, I just looks like a bunch of houses or who knows out the back. There, good. You've got a lot of these green sort of shrubs and stuff running in front as well, so it's no biggie. Good, good. Um, right. So, that's most of the right hand side, pretty much done. Now, what I want to do is start putting in some details for these trees. Now, we've got a tree here runs up and it just you know, I think I'll just simplify the simplify this down a bit just put in the trunk. And then the rest of this I'll do once we get the once we start off in the watercolors. We've got another one here in the background as well that's sort of just into weaves through the tree like that. You know, there's even another tree out the back here that's kind of like a shorter looking tree, and it just turns into, like, a much larger bushy or there's tons of sort of greenery at the back there. Okay. Now we've got this larger one here in the front. It's probably around here. It's going to go all the way up. Okay? And then you can see the branch just runs across quite suddenly, okay? And then you've got the left hand side, so let's get that in. And this is kind of like a part where it splits off into two sections. There's another bit of the tree that runs to the left like that, and this comes all the way down here. Okay, so that's this tree here. And we've also got some, you know, shrubs, like a larger sort of bush here. And, you know, there's a really interesting pattern here of this grass that just goes up on this really steep ankle. But behind all this stuff in the background, you have got some, like, details of those background buildings like this one here. I'm just going to pop that in sort of peeking out from behind like that. I'm making it a little bit larger as well, hopefully to emphasize some of the details, okay, little triangular bits, you know, running through underneath like this, maybe. And in the background, you know, there's more than kind of rectangular. There is this other sort of And those would be sort of the facade of some of the buildings, okay, like that. Then in the background, it's just kind of a water there off in the distance. Okay. Good. More shrubs and things here covering this area. Fantastic. Alright, let's get started with the painting. Alright, the first thing I want to do is just get in some light into this scene. I'm going to put on a bit of warm yellowy color onto the front of this building. Okay? I want to recreate this light a little bit just to make it a touch more warm than it actually is. Okay? Just a little, little bit of yellow value. Okay? I've diluted it down. I mean, it's probably 1% paint or something like that. It's so minute that color. In there, then you've got the rooftop, which is like this orangy kind of color. So I'm going to pop that in a little bit of that orange here. Okay. And a bit here as well for that part of the roof, that left hand side. Okay, then I'll probably darken down that orange a bit more to the left, like here, just so that it looks like there's a bit of shadow or that kind of thing running across it. Okay, but it's going to be tricky to make sure it doesn't go into the into the front of the house. But at this point, really, I don't mind. As long as you've just got a nice little indication of warmth running through this scene. Okay. There we go, the base. That's the house, the bottom of the house there. And I'll just get in some more warm value again. It's kind of yellow ochre now just for this bit of the fence there, a bit here in the background, too. I might actually put in a touch of cooler color here, just make it a little bit cooler. This is some purple in the background, but it's just diluted down so much Okay. Leave a bit of that light on. Like that. Just go to leave a bit of light on some of these sections there. Okay. Good. Same thing here. Down below, I think I will just pick up some really light paint. Just a bit of purple for the rooftop, this building. And I have a bit of black as well, or just some gray tuck that in there as well. Lake that. Okay. Good. Do this all at once, and then you've got this building here behind, which also has a bit of darkness back there. That bit of orange, orange sort of values. Well, this rooftops and things just running through. Even a little burnt sienna will do the trick. Okay. As long as I've got something, some really light values in the distance there, we can bring something out of it afterwards. Good. Now, in the sky, I'm going to pick up some cerulean blue, and I'm just going to drop this straight in to the top. Now I can cut around this tree a little bit. We don't have to paint the entire tree in because we know that it's yeah, it's got a bit of warmth in it as well. Same with these trees here in the background, I'm just going to cut around them and touch, okay? Like that. Okay. Let's just bring that across to the right. Okay. Borrow some of that paint on the left, and I just want to bring it over to the right and create a nice kind of wash that will blend. It's just go to blend a bit into the buildings below as well there. I'll add in a bit of extra concentration down at the base, indicate that water you at the back. It's not too obvious, but Okay, good. Bit more concentration, I think would be better. And again, just sort of cutting around the house. This is tricky because you want to make sure you're not going too far into everything. Okay, just sort of leaving the previous wash in there. Okay, let's do this left side of the house. Now, that there we go. There we have it. Good. Now, this path, I'm going to just leave as is really. Unfortunately, some of the blue has already got into the path. It's not a big deal, but I'm going to pick up some green, a little bit of this undersea green. It's a really light green value, and I'm going to bring that across maybe add in a touch of yellow as well to make that green a bit more vibrant. Okay, like that. You've even got some of it just goes up here, kind of like this shrub or whatever, runs up the wall. You know, you've got some of it that runs up here as well into the building itself. It's actually quite dark this bit, so I can drop in a bit more concentration in there like that. Other than that, I want to keep the rest of it, pretty light for the time being. Okay. Let's continue on, like down below here. Okay? Just bring this across and, you know, notice how I'm just cutting around this path a little bit, as well. I trying to leave trying to leave a good amount of that path white. I can darken it afterwards, but if I go over it now, if I go over the whole thing, it's going to be tricky to bring back that previous wash. So I've got to be careful here, a bit of darkness on the left and a bit of yellow mixed in with the green a little greenish value here. I'm going to cut around that little house. And as I move down the page here, I'm going to start adding in some purple, little bit of purple or black or whatever, just to create a bit of extra darkness in there, Kate. I'm just using the same brush, mind you. This is just the same mop brush shows you how much you can really accomplish in a few brush strokes. And further down here, I'm going to add in some of the kind of grassy texture. It's just a bit of yellow mixed in with white to get this milky sort of color. It's gonna look a bit green, actually, unfortunately, because I've already used a lot of green here, but it doesn't matter. As long as it's lighter, I'll be happy. Of course, I can drop in some more yellow in there as well, like that. Okay. Good. Back to that green, adding in some more green here. And a bit of purple mixed with that green to create a darker green value, I suppose, running through. Underneath, you've got extra dark values in there, too. Okay? There. Oops, we've gotten here. There's some more bits I can just sort of cut around as well in there. Yep. Good. And let's bring some of this darker green to the right, as well here. Bring that through. A bit more yellowish color up the top portion here. Good. Yep, trying to bring more of that yellowy color throughout the back behind that path. Okay. Some more green down below. Green and, like, purplish value. Okay. And a lot of this is gonna be great. This light that you see running through. Okay. Now, this stuff is starting to dry off. So this is kind of my opportunity now to put in a bit of white here, just to subdue this down a touch. Okay? I don't have to do it in all places, but just in some spots 'cause I do want some of that white to show through anyway. Okay. Good. Now, with the trees, we need to put in some lighter value as well. I'm going to just switch over to a smaller round brush for this. This is a bit of yellow ochre, which I'm going to drag all the way through that tree. Okay. That's some of these trees in the background there as well. Maybe a bit of brown up there as well. Good. A bit of brown. This is raw umber. Then I put in some darker value of raw umber now to the right side here. Hopefully, this is going to create a bit of a bit of softer shadows running to the right side of this tree and preserve the preserve the light on the left hand side. Okay. It's tricky, but especially because that area of the sky is still not completely dry. Okay. But yeah, all this stuff anyway, I can put in a bit more detail afterwards, you know, another layer or what have you. But I can still kind of get in, as you can see, just these branches, these indications of branches running across to the left. And parts of that scene have already dried. You can see to the left, here, parts of these areas of the skies this area here that's not completely dried, so it's a bit more effort to get in some of these small details. But, um it's just saving a bit of time and also creating a nice loose feeling here as well. The right side of that tree just needs more something running through. Yeah. Some more trees out in the back here and they just have this so you can see this upward trajectory to the branches. So I'm going to imply some of these branches in here like that. The shadow, obviously on the right hand side of the tree. There is another tree back here behind everything, and that also goes up. There's another one back there, which I'll put in as well, maybe an imaginary one here. All right. And also, let's start putting in some little leaves, some green. And this is going to just spread amongst the sky a little, hopefully, because the page, the paper is still sort of wet. I can do this all at the same time. It's a lot easier if I do it this way. More yellow, maybe some orange mixed in there 'cause it's kind of like autumn sort of time. But it's a bit much actually to the left, but it doesn't matter. Cute. Gonna pick up some brown and some black mixed together. And with the rigor brush, just put in some little detailing work here, while the paper is still wet, can just go ahead and do this and get in an impression of all the little details and what have you. That the right hand side of that tree just needs to really be darkened down, as you can see. Plus, you've got some real dark branches on the left, as well. So that just go all the way through. Okay. Plus, you've got all this kind of, you know, if you see on the tree, the sort of the pattern of the bark. I just sort of seems to run through and permeate through the entire tree. So just a little something like that hopefully will help imply extra details. Great. Fantastic. Now, this stuff is probably started to dry now, the ground and everything. So I'm going to go pick myself up a bit of purply paint. Okay. Just a kind of purplish, maybe with some blue mixed in there as well. Ultramarine blue and purple. And I'm going to try to get in like a shadow here on the ground. You can see it just running through. There's also another big shadow just running through the front of the scene like that. I'm just making it a bit darker than the actual reference to just really exaggerate this a ton, okay? Like there, you can see they connect up. They'll go all the way into the back of the scene here. This shadow needs to connect on better like that with the tree. Yep, maybe one here. You can see here, the same sort of deal, like that. Um, I'm just trying to extend this tree downwards a bit more so that this shadow makes more sense there. You know, I mean, running through, you've also got other, you know, bits of tree branches also here, you know, maybe something here in the front, as well. Let's put some more bluish value that Okay. Of course, back here, you've got really a lot of darker value. Um gonna drop in extra paint. And also use this as an opportunity to maybe bring out some of the tree to the left the tree, this light pattern. Alright, yeah, really putting in this darker value here to the left. Just purple and black mixed together for this section. Um, B more darkness back here, perhaps. You know, with the fan brush, I'm hoping to just maybe flick in a few little little details like tufts of grass and things. You can see just running through some parts here, like, just in a way disrupting disrupting the flow of things, but also joining, joining parts of the scene on to each other. A bit here as well. Helps to break it up a touch. Good. I'm going to continue bringing this a shadow perhaps through the house a little. Like, maybe up running across the house like this. Here we are, like that. It's like a purply shadow, I suppose, off some hypothetical branches running into the scene, and then maybe darken down this right hand side there. Good. There's also some branches, tree branches and patterns we can put just running through this fence. Not a fence, but the wall here behind it. I'm just going a bit darker. Maybe more purple behind, like this. And the same thing just creating a bit of a shadow running across this building in the back. Same shadow pattern, I suppose that I'd seen before. I will darken off the rest of it. Like that. Yep. A bit of purple also just running across this side of the building, the right side of the roof. Okay, again, to I guess, indicate the shadow that's running across. Really try to make it a bit more organic. A bit of shadow on the chimney there. Uh perhaps there's a bit underneath even the roof, like here we can get this part behind the roof there, just indications as well. Like that. Let's have a look at these. There we go. You can just put on a window like that, and then a window below, like that. Extra darkness. In the background, I'm going to just start to put in more details like this little house back there that could do with some extra purplish value around it to bring it out. You know, even behind these little triangular parts of the houses, I can just put that in a bit of detail or something underneath like that. An indication of, yeah, some of the rooftops, I guess, and architectural details showing through. One thing I really like doing is to scratch out some paint. So this is a little uh pocket knife that I use, little blade that I can use to just scratch off some indications of grass and get in a bit of light. And you've got to wait until the paint is almost dry. So pretty much at this point here, where I've just about finished all the other details before you do this. And as you can see, it's quite effective implying textures. Trying to make some larger ones here in the front, you know, here, you know, where you can see the light come through a little bit, a little bit more scratching out works. It helps to create some contrasts. Otherwise, it looks kind of boring. Just the same old values running all the way through, and it saves you from using some guash as well for this. Yeah. There we go. Look at that. You can just really work into some areas a little more than others. Okay? All right. Good. I think I could also do with just a few more little rush strokes like that here in the foreground for some tufts of grass. Okay, so this area here in the back is almost done. I just want to add on a few finishing touches to bring this all together, a bit of purple and a bit of black mixed together. And we'll just go into some parts like for example, the rooftop. I thought that might could do with a bit of extra tiny little detailing here to indicate the roof, bring the roof out a bit more like that. You know, for example, underneath here, that could do with a bit of extra detailing, as well. This bit here behind the door, I suppose, there that needs to be darkened off a bit. A look. It's really just a way to bring some little details back. Yep, this is part. The building could do with a bit of re jigging, detailing. Okay. And we are finished. 61. Day 28: Tallinn Nocturne: Okay, let's get started with the drawing. Now, this is a pretty simple noc turn scene, if you ask me, because you've only got the cars really to contend with and the details of the silhouette of the buildings behind, along with some small details. So I'm going to just draw a line just underneath probably about a third of the way through the scene, maybe a little bit more than a third of the way through the scene. This is to separate the buildings from the ground. And we've got the car here in the front, which I can just kind of indicate the windscreen there, and you can see the front of it sort of flares out a little bit like that. And then you've got the lights here, you know, sort of coming in from the front. And, of course, that that reflection on the ground that we really need to to get in. So firstly, I just want to put in the shape of the car. Now, the rest of this is going to be a lot easier once we have the general shape of the car in. Now, there is another car behind. You know, I can just sort of draw in the general shape of the windscreen again as usual, and then the back end of the car, here you've got another wheel and then you've got a wheel here. It's kind of just the front of the car, I guess, just moving along and yeah, there we go. That's the car behind. You know, there is actually another one behind as well. There's like this van of some sort there that's just all the way in the back. You can't really see much of it, but that's a car there in the background. You know, the rest of them, you can see, they're just all the same sort of shapes. You got this other car there. You've got another one that seems to be facing towards us again, another couple of wheels there. You know, I'm just trying to simplify this down as much as I can. You've also got a couple of people here walking in the foreground. I'm going to just put in some little details of those people there in the side, you see the sidewalk, and there seems to be some kind of tree here or what have you? Another building there. Okay? So I'm going to put in this other road that sort of runs across inside, and then that sort of runs off like there as well. So it's sort of like a like a three point perspective, isn't it? Okay? So you've got this silhouette of the buildings. Now, this is where you really want to make sure you're not overdoing it. I'm starting off with this one right in the front first. I kind of goes up. It's got this triangular, like, rooftop comes down like this. And there's all these little details on it, which I'm not fussed about at all. Here, you've got some little details of these architectural details, I guess, you can call them on the rooftops, like that. That let's just put in some of these, you know, running through the sides of the buildings that runs down, and that's kind of like another front part of the building. Okay. This building here has some lights there. Other than that, you've got these windows that are just coming through the buildings, like a couple three windows here and little bits that stick out the side here. Then let's get in this one. These are the buildings here on the side and you've got and this triangular sort of building there and a bit of this stuff on the chimney there. You can see them all start to come down, and then you've got this really large building there right at the back. But you can see it just sort of pops up there and then like a silhouette all the way in the distance. Like that. Okay. Now, this part here is just simplified. I'm just going to make this a silhouette of some buildings here to the left. Okay. And, of course, you've got this van that's sitting here and you've got a bit of the side of the van as well, which is great because you can sort of make this look like you've got a bit of light coming in from the right hand side. Okay? So, of course, you've got some light running downwards, as well. Here, you've got more cars that are just parked on the side of the road. And, you know, look just simplifying this down. You've got some that are actually driving into the scene, Okay and some that are further behind. So I'm just simplifying this down just simplifying this down, yeah. There's also you can see some people maybe walking on the road here as well. Three people just sort of walking into the scene. Maybe put a person here as well. I'm just thinking just to make it look more All they need to make this person a bit bigger. Just to add a bit of life in the front of the scene. I want to make the head up there, be kind of walking into the scene like that. Okay. Good. Let's have a look at how everything is appearing. I think that looks pretty good. We should get started with the painting now. Some of these headlights and the light in the scene now. Over here, you can see there's a bit of yellow runs down the page like that. I'm just going to drag the brush running downwards like this to get a bit of that yellow light. You got a bit on that van as well running down like this. Alright. And not only that, you also get these, like, tail lights of the cars that run down the scene as well. So this is just a bit of orange that I'm picking up here as well, just a bit of orange that's kind of indications of the tail lights of the cars. Okay. And you can see there, maybe there's you know, I can indicate a little bit like this as well for that one. Alright. Okay. And some yellow again for this part here, just a bit of downward brushstrokes for some of this yellow. Alright? I think the orange and the red tail lights would be easier to get in afterwards if we've missed out on anything. But Yep. This should be good. Now, I'm going to just give it a spray to keep this bottom section of the scene alive. Okay. Just make sure I've got a lot of water on there. And what I'm going to do is start working a little bit on the cars. So I want a bit of blue here, just a cooler color, really light, lighter color than that. More cool, I guess, like this. And there we have it there. Okay. Just showing it run through a little bit. And I can start working on this stuff in the buildings now. I just want to have kind of purplish color, but I also like to have some yellows in the buildings. So I've got a bit of this yellow ochre, and I like to mix this with some purple. And it just subdues down the yellow a little bit. Okay, like that. The buildings have a bit of something going on in there. Really I normally like to do this a bit earlier. But it's good to have the sky in as well. Okay? I'm just going to put in some blue, a little bit of blue up the top, maybe some darker purples in there as well blue and dark purple. Yep, there we go. That's going to be a nice sort of color for the sky. Now, it's got to be, you know, it's got to be reasonably dark as well. But it's not as dark as the buildings. So this is just a little bit of this. I'm cutting around the buildings a touch, so that it doesn't go directly into the buildings, like a little bit of cutting around. This allows me to just work on the buildings as well afterwards so that that color doesn't run completely into everything. Okay? As you can see, it's just a mop brush I'm using for this. Move some of this paint upwards, move some of it down over that side. Okay. Maybe we'll move some of it down here as well. Okay. Good. So continuing on with these buildings. But I'll just give this again another spray at the base so that it keeps that wash alive down below. Let's have a look. G pick up some yellow again, a little bit of this yellow ochre. There. And more blue, maybe a bit of neutral tint or black, just sort of mixed in here as well. Okay? The big thing is just trying to make sure I've got some significant contrast for the buildings in the front. The buildings need to be a little bit darker than the background and the sky wash. Okay? So I'm just cutting around a bit in order to try achieve this. I'll probably have to go back in there again afterwards. Okay? It's just a bit, as you can see, a little bit of this skywh come through. Leaving a little strip of light on top, little bit of lighter value on top so that it's able to separate from the sky. Okay, a bit more yellow as I move down the page. Okay? It's just a bit of yellow, maybe some orange in there as well. Okay, main thing I just want to do is add in some warmer values. So warmer sort of values, and then I'll feather in some of this purple again, cape. Great. Now, we've got, of course, all these cars and everything, so I'm just going to cut around these cars. And, of course, this person that's walking around here. All right. There's also this car here in the foreground, this larger car, I'll cut around a bit. Like this. There's another car behind. Okay. Just trying to get in this soft sort of really soft feel of color. Okay. I'll do the same for this one to the left. Maybe some yellow up here first to get in a bit of light that might be showing through. Then I'm going to go in with the purple. Yep. And it is very dark out in the back here as well. So same purple I'm using darker purple. And just redo some of these buildings a touch. It's a little bit tricky because they're so far off. Let's cut around this little van. I'll have to get in some bluish paint maybe in the back like this to make it look more There we go. Yep. More like a van, the back of the van. It's not going to be so obvious at the moment. We can put in more details after. Okay. Now for the rest of this, I'm just going to drop in some more color. But let's give it a little spray down below first and what I want to do is pick up more of this kind of orange values or, you know, warmer colored, you know, got yellows and stuff like that, and I'm going to drop that down here. I'm trying to keep this area a little bit lighter so that I can indicate the whiteness of the headlights here. Okay? That's not 100% something like that. Okay, let's move some more of this stuff downwards. Again, this has to melt in with all of this other color. And the idea is for it to just look like there are reflections coming from above. Okay. Make that run through a bit there. Bit here. Same sort of deal here. Just verticals, essentially. This way, you've got now indications of light and downwards sort of strokes, I suppose. And you can always just drop in a bit of paint as well, let it run downwards, and that creates these, like, little blooms of light that just run through. Thank you. Okay, let's give it a quick dry. Final touches, we're going to put on the details of the buildings and some of the darker spots. So I can see here there's specifically some buildings out in the back that I mean, these are actually some trees darker kind of trees out here than I can imply that just a bit of green and a bit of darker blue. Okay? This is just gonna help me to indicate the side of that building. As it goes in, and then we can start putting in a bit of the details of the building like this and underneath, like that. This is just a bit of darker paint, whatever I've got on the palette, essentially, which is purplish colored paint. Okay, here, you've got some little windows and here as well, some more windows that you got more here, a couple others there. You just looking at that reference and finding some points that you might want to bring out, indicate or otherwise, you got a window or something on the top like that. Then you've got two more there. A couple more there. Running down. It's really just almost drawing with the brush to create some final final bits so that it makes sense. Another window there, another window here, you know, at that just quick little quick little indications. And I'm really just trying to be careful with this as well, so that I'm not overdoing it, too. The rooftops are a little bit darker, you can see on some parts of them. So I've just gone and indicated a few more extra extra bits and pieces. You also find that maybe there's a bit of darkness that surrounds the bottom part of the scene here. So I can just drop in a bit of darker paint around the cars like that. Hopefully that will help to bring out the the light below. Okay. I don't want to overdo it again. But, you know, here in the background, some more windows like that. Okay? This should be darker, this top part of the building like this. Then, of course, you've got some of these trees here on the right hand side. Okay, like that. And let's put in some details for this car. So they got the grill there in front. And plate. Then you've got the bottom of the car, which is, like, pretty dark, like that. Here. And, of course, we've got this car behind like right there in the wheel as well, like that. Just go to put in some details for the car and the windscreen perhaps like that. Um good. Another car behind here. Um, another one here as well. Another one there. I got a person here and I'll just put in some legs. There's a person there, maybe, like, crossing the street. Of course, there's something here. I think that could be another car that's just parked behind. Again, I'm just putting in some details for those cars. Another one here. Another two people here as well. It looks like a couple of people to the left. You've got this car here, of course. And it does have a bit of darkness on the left side, just behind there. Okay. Good. Flat brush. Maybe a smaller flat brush. I want to blend some of this stuff downwards like that into the shadows and the lights there. So check this out just sort of quickly dropping this in like that. Okay. It's just some purple. This figure as well, maybe a bit of reflection there. Me downward strokes. Like that. So more windows to the left here with these buildings in front. Might also just darken some of these other buildings here to the left. Okay, to hopefully bring out the central part of the building and the center like that. Give it a bit of contrast. And yeah, just trying to darken a bit more around this area to create extra contrast, as well. Well this car Extra contrast there to the right. Oh, I've forgotten, there's a couple of figures here, too, where people be good to put in some details inside the windscreen, these darker spots inside. Okay. It'll dry off. Okay, so finally some white guash that I can use to bring out some of these details for the lights of the car like that one here. Let's get that through like this. There we go. That looks better. Really just feather that in picking up a little bit of bit of that guash, just bringing it downwards. Okay. It's difficult, actually, to get it to show through and look kind of dazzling, as well. Um. There's some people as well. We can just drop in some guash for the shoulders. You know, the top of the car, you might put in a bit of guash up there to just bring it back a touch, okay? All right. And we are finished. 62. Day 29: Helsinki Snow Drawing: There's a lot going on in this scene, and the first thing I think that's important to put in is just some basic guidelines as to where the sky separates out and the bottom of the buildings and the back starts out. So I'd say that's about maybe a third of the way down. So I've got the pencil here. I'm just going to drag the pencil across about a third of the way down from the top of the page. It doesn't have to be perfect, but something like that. Is going to be fine. You know, you've got all these buildings back there. I mean, I can just maybe pencil in some little details, and it actually there's a lot of snow that you can see that's just sort of piling up on top of the buildings. I think I'm going to emphasize this a bit more than is necessary, actually, because I think that will make it look more interesting. Okay? There's another building here. Look at that. It's sort of like a building off to the side like that. And we've got the train station there to the left. Okay, this is in Helsinki. And what we will do before that is, again, just sort of pencil in some of these buildings here in the back and a bit of this lighter colored snow on top of the building. It's really just the rooftops. If you think about it, it's all so misty back there. You can barely see what is going on at all, but a tiny little bit of scribble there is going to be fine. Okay. Now, I'm going to carry this row down roads sort of start off all the way in the back, and it runs down the page, and then it runs out on the right. Okay, and the other parts of the road just sort of run down and actually scoot all the way almost to the center of the page here. So it's quite a yeah. A few little tracks running through. Now, this is going to This is going to be easy to do more watercolors later, okay? Let's have a look now on the left hand side, there's a bit of this road that runs in sort of to the left, and there's some stuff on the road, that kind of thing, okay? And we've got this big mass over here that we need to and we need to sort of get in. Now, where does the building start? Where does it touch the ground? We're only at the center of the scene. If we look here just around the center there. Okay. Then you've got to really try to simplify this down, make it as easy as I can. So we've got, like, the side of it like that. Kind of like a squarish shape, and then you've got this arch like in there. Okay, underneath, you've got this section like that and then a bit of darkness under like that. Let's have a look. You got this spot a side like that. Okay, there's a lot of stuff going on in here, and like that. The rooftop, you know, lots of these little rooftop sections that's pretty complicated. But when we look at it later as a whole, it's all going to be much more simple as we're just going to leave it kind of like a little bit lighter there on the top. Okay. D this runs all the way to the back there. Like that. Let's have a quick look, okay? Comes forward like that. Okay, that's so this piece of paper I'm using is a little bit a little bit, um wider than the reference. So side of the building. And we've got the kind of this arch way that runs like that. Then you've got kind of this another entrance to the front of the train station here. That has some of these features running on top, as well, towards the back. Okay. And of course, you've got this clock tower that's running all the way upwards like this. Really quite a stark looking shape, and I have to make sure this gets in here with, you know, some decent amount of detail. Okay? Just to keep you know, keep it looking interesting and quite salient in this scene, 'cause it's quite a you look at it, it's really quite an obvious part of this entire scene, okay? There's a lot of stuff going on in the rooftops. I mean, what's going on here? Let's see if I can just rejig this a little bit. There's another roof or something here as well, underneath. Okay? Okay. Some windows sides here. Okay. In this area, there is just this detail. If you look at it, it's just they're just shapes here, I can see some kind of rectangular shape, and it's like a structure there of some sort. You know, here in front. I've also, you know, you can see this other structure here. Okay, let's just try to get that in. That's like a a little station or something, like, a little information center. Okay. Apart from that, apart from that, I think we've almost got all, you know, the little details that we need in here. But I think the cars are going to make a really big difference now. Let's just put in some little indications of the cars up from the distance to the top of the scene that from the top of the scene, you can see they just kind of look like little rectangular shapes, okay? So we need to imply some little rectangular shapes. And here, you know, it gets a little bit more complicated, but, you know, you can get the windscreen in the back of the car, then you have the front that. Doesn't have to be super accurate, but just some car there. There's a couple more here as well. Another one in front maybe here. Okay. I'm just really scribbling these in quickly. There's people all around this scene walking around everywhere. We don't need to put them in really at this point, a few to just remind myself. And you've got all these kind of poles here, and these are important because they, you know, a lot of them have a bit of light coming out from them. And even the windows here in this building, they have light coming out. So that's just to remind me to make sure I put in some of that light afterwards. Let's put in some more of these cars and as you can see, just these sort of boxes that you can see from above. Then as you get a little bit more into the distance, you see more the back of them a bit of the front kind of thing there, they just line up. It looks like some kind of traffic jam or something. They get smaller and smaller as we get into the distance. They appear to be just sort of waiting at a crossing or something like that. There maybe some people accessing the road. Okay. Good, good, good. Just looking to see what else we can potentially put in here. More objects. There's something here. I don't know what that is. But yeah, you've got some small cars also coming in from the distance. You can see just little cars. All right, coming in, you know, you can just imply like that. What is this thing here? It's other something or another, like public area, some spots. You know, at this point, they're just shapes and areas of darkness. Okay, so I think that should be good for our drawing. 63. Day 29: Helsinki Snow Painting: Going to put in some light. And I'm going to pick up some yellow ochre, mixed with just some normal yellow. Okay, a bit of white guash in there as well. And I'm going to just drop a touch of this. You know, let's just put a touch of this into the windows, and into the ground, as well. All right? Just so that we've got some light. Okay? A little bit of light running through the scene. Okay? You know, you've got to be careful not to overdo it. But you've got some here. You know, you've got some over here, as well. It's kind of like, you know, the headlamp headlights just shining onto the cars in front. You know, got a bit here maybe a bit here, the cars going into the scene, you know, even the tail lights and things like that of the cars. You know, a little bit of that's going to really make a big difference. There, you know, even on top of the clock tower here. You've got some light here on the sides of the buildings, like like that, just a bit of a little bit of light there. Okay? Just a lot of something like a warmer kind of light. And this is coming out spilling out a little bit from the building downwards as well. Not only that, you've got some of these buildings in the background that also have some light in them. You know, I wouldn't bother too much with all this if you can't get it in, you know, I just like to quickly drop in a few little specks, that kind of thing. And because afterwards, we can actually get in some of this light with some guash anyhow, it's gonna be difficult to leave all this to just the watercolor and cutting around work, it's okay. Now, just underneath some of these lamp posts, you can see there's a lot of light as well. So just sort of trying to get in a bit of this stuff. Okay. Now let's give it a quick spray with the spray bottle. A little spray. Now, on top of the buildings, I want to get in some kind of bluish color, and I think I'll use some ultramarine blue for this. All right? Yeah, the snow is like a kind of, you know, there's definitely like a bluish value, but a very light blue kind of value. So let's go in like this over the top. Um, maybe less saturated, like this. Yeah. Okay. It's kind of like a very light blue color. All right. A lot of these buildings are just going to have this light blue color that permeates through the top, Okay, like that. Let's have a look some more around the back section as well. I do think this is going to need another. It's going to need another wash on top of this to bring it all together. Up here in the sky, as well, I really want to. We'll just go over this clock for a bit. But in this sky, we want to just make it a bit darker. I've got some darker purple, which I'm going to drop in. But yeah, as you can see, I'm just going over the top of the scene. If it's a little bit darker, it's no big deal. Okay. Actually, the buildings are touch lighter, not lighter, but they touch darker themselves. But we can still have areas. You know, we can still have areas like the rooftops of the snow and stuff here that are still lighter on the roof. Okay? So you want to keep this sort of nice and wispy. Yeah. Good. Nice and wispy, maybe a bit of darker value as well in the top part of the scene, just like this. Okay, so that it looks a bit more darker on the top. Okay, like that. Maybe some mist or something running through. It's difficult to imply this in watercolors, but a bit of this feathering inwork goes a long way to help imply that. Okay. Now, moving down the page, we're going to have to again feather in some more of this color. And I've just got again, some blue, really light blue. Okay? And let's drop this in around all this light that we have. That's already in there previously. Okay. But maybe some Cerulean. A bit of cerulean. That's cutting around to the cars again. Yep. All the way down the base, it's really light. I mean, this wash I'm using is mostly just water. Me this Wash. Okay. Now, I'm going to start putting in some little kind of lines, I guess, of the road or just some areas that I can see running through, and it's basically just really these little guiding lines, okay. And not only that, you can see they kind of just go up as well into the actual buildings themselves, like up here, for example, that gets pretty high there. And then in the background, you got the buildings all the way in the distance. And again, this is just kind of wet and wet work for the buildings. Not much in the way of structure, but just enough. And this is just a little bit of purplish paint mixed with black to kind of get in some of that stuff there in the background. Some of those buildings in the background anyway. They will just settle in a bit back there. There's not much I want to imply, but just as long as it's soft. There is indication of them back there. I can probably tied them up later, but I'm not fussed about it right now. Okay. These little roads that go in to the back section there as well. Um, let's have a look at this building here. Gonna use some more black here and just drop that in, and this can, you know, be the bottom part of that building. A lot of this I want to try to put in wet into wet, if possible, you know, some of these structures, I don't even know exactly what they are, but, you know, it's going to make it a lot easier. You know, the cars I don't need to bother too much about. I can put in some sharper shapes for the cars afterwards. But this stuff is definitely going to make a difference to make it look more subtle, I guess, like these this road or whatever down the base, the bottom here, like that. It doesn't look too, stuck on. Let's see if we can go into this building here. All right. A bit of brown maybe also mixed in. Okay. And again, sort of just trying to keep away from the rooftop a bit, to leave some of that white on Well, it's kind of just leaving on that sense of that snowy effect up the top. Okay, while still trying to get in this bottom part and having it all sort of wet and wet. Like that. This part's darker. And here, I'll sop over to a smaller round brush for this big thing you want to do is try to preserve the preserve the light on here, which is essentially just the rooftops of things. All right. There, look, let's just get some more in here. I kind of comes up a bit in there, doesn't it? There. There's some other bits in here as well. Okay, good. Dark sort of values for this, because we're painting wet into wet. We don't want to put too much paint on the brush. Otherwise, it's going to spread everywhere because the paint is actually still wet underneath. Mm hmm. Okay. But it's really the only way to make sure I get in some nice light effects running through here. Just outline the bottom of these buildings a bit more. They don't appear to be too obvious just yet, but just something there. Yep. Okay. There is some darkness behind here as well. Yep. That section is a little bit darker. Soft enough this part at the back. That looks a bit too harsh. Gonna mix some water in here. Good. Some more darker bits in the ground, like, as you can see, just a little little kind of indications of the Okay. Of things in the ground, darker spots in the ground. Okay, that's going to be pretty important to imply, as well. It's almost minute little details, which we can get in afterwards as well. But, you know, you can only do this wet and wet stuff here at this moment, really. So I do notice there's actually a lot of like down the base extra color here should be extra bit of darkness in some spots. Okay, in here, maybe. Actually, here in the front, I think, could do with a bit of extra darkness. Even if to exaggerate a little even this section could do with a bit of extra details on the roads like Okay, let's give this a little dry. I'm gonna go into the tower here now and just get in a little indication of it in this darker value. This will be pretty pretty light, and I just want to make it stand out from everything else in front. Okay? So just like that. Near the roof below, you can see I'm just going to stop shy of that snow there. And there we have it. We've got a nice little indication of it running above. Let's get in the top of it as well. Like that maybe Yep. Difficult to quite see into the details, but, um, that should be enough. Okay. And we can also start now implying some other little details like here, for example, on the sides of the, you know, station, there's little bits of darkness in areas like here, sort of imply the where the roof separates from the bottom part of the building, as well. Can just sort of do that and put in some rough brush strokes like this. Okay, here, let's put in some downward brushstrokes like this, as well. Great. Some more little indications to the left. It's really just to outline some small details that didn't show up before. So yeah, there you go. Just some downward spots like that. Something going back in there. Of course, you've now got this side of the station and the arch or whatever you call it here. Inside, there's also a bit of darkness here at the base. Something like this, a bit of darkness here. Good. All right. Some more here, left hand side. Let's have a look in the background of just gonna dry brush some small details on here in the back because actually, there are some details on the rooftop. You can see just some tiny little, like, details, I guess you could call them. And this section out the back there, it's darker. It's difficult to imply, but yeah, just dry brush. Dry brush is the way to go for this. So that it doesn't completely remove that previous wash and cover over the top of it. Can you just darken that a bit more. This tower. A little bit more some parts. Good And just sharpen this section up again. Little parts of the buildings, you can just sharpen up adding in a few little brush strokes. This Amar's another something bottom of the building. Again, there's a lot of detail in there, but these look like stairs or something, and you've got some architectural detail or some walkway here, runs around. This You know, I don't know exactly what that is, but just some little dry brush work, make it look like there's something there. Okay, good. Okay, some of this car. Let's put in some of these cars. All right. This bottom part of the cars yet. I'm just going to color them in real basic sort of value in these cars as well here, below, again, they are for the sake of this, just little boxes, really. Okay. Lots of little lines and things running through. But Okay. I might put in some of these poles. These light poles. Rigor brush. Okay. Just a few of them running down the page. Maybe some running down here, the streets. You know, some here as well. A more darker value to indicate some of these again, these little architectural details. I just didn't think they were dark enough before, the rigor will help also add more detail so long as I'm quick with it. Okay, good. Even the towel, there seems to be some bits and pieces in there that I can emphasize. Better. It's B cast again, just detailing a bit extra all the way into the background like that. And let's put in a few little figures. Some black paint. There's a lot of them just sort of walking around, you know, put them in quickly. Oh, over the place, really. Trying not to overdo it as well, 'cause in terms of the simplicity of the people that we've got in here, just keep them very, very basic. Even just the bodies you can put in that worry too much about the legs, especially the ones that are all the way out in the back here, They're just to indicate some figure, a person, but not worrying too much about all the little details of them. My you get smaller people here out in the background, so I don't need to really do too much like that, but it's the ones that you see closer up, you know, like here. To just put them in quickly and then move along, really. I have another one here, maybe Detail this car a little bit better? The wheels and underneath them. I go to get the tire tracks, tire marks on the ground like that. Okay. And that is finished. 64. Day 30: Gustavsberg Drawing: Okay, let's get started with the drawing. And what I'm going to do is start off around the center of the scene and put a lines running all the way through from the center of the scene, kind of cutting this page into half. Because that's roughly where the sky meets the Earth, okay? The next thing I want to do is in the center of the scene, you can see a little path here in the background. I'm going to just indicate this path, okay? Sort of starts off a little bit out the back, comes down a little bit. Then you've got this sort of hill here and the path then starts again coming down to the front like this. Here, moving out. Then you've got a much wider sort of bit that comes out here like that down towards the base. Then you've got the path that sort of runs to the right hand side of the scene, roughly about here. Okay. You've got all these shadows that are running across the scene, which are going to be quite interesting to get in. Okay? There's all these mounds of grass that you can see here just growing in its autumn. So you've got really a lot of beautiful beautiful golden colors in there as well as the greens. And of course, I'm going to need to put in roughly where the water starts. I'd say it's right here. It's in the background. And really, there's lots of shrubs and things growing around there as well. But at the same time, you know, you've got this tree here. And a lot of this stuff, we're going to be able to just get in actually with the watercolors afterwards. Okay. So don't worry too much about the details of all the different branches and that kind of thing. You know, I'll leave a lot of this too afterwards, but this is just a start, right, just to get us going. You see some branches coming in from the far Far right hand side, there's as well, shrubs here. Okay, there's more trees in the background. There's some more that just run upwards like that. There, there's some more, you know, running all the way into the background like that, okay? Plus, you've also got some kind of distant mountains or whatever here, not mountains, but, you know, just elevated land in the background. Okay. Over here, we've also got a bit of elevated land. There's actually a lot of housing and people living back there, but you can't see it from our side just yet. I do like this tree that's sitting right here. It just define this path a bit better. There we are. Just defined that path a little bit better. And the tree sort of coming up from within here. And again, it's just similar sort of upward patterns, and then you've got these branches that sort of just split off from the sides like this. Okay? It's important to It's important to get the general structure of these trees in correctly, 'cause they do have a unique look to them, do they? This one comes off on a bit of a Y tangent there, Y, yep, sort of shape. Okay, good. Oh, right. Really, I'm just putting in more smaller details here. So this should be kind of like another mound of what have you here, like a little da mound. And there in the background, there are also some a larger sort of mound there. But there's a house here to the back, which I want to put in triangular rooftop like this comes down. Comes down here. There we go. And, of course, the sides, putting in the sides. There's just a little chimney here, let's put that in just a little indication of the chimney coming there, running down. Now, we don't have to get this in exactly as the reference, but as long as you've got a, you know, house looking a shade looks a house back there, you should be fine. I do like the I do like that shadow, but I find that it's maybe a bit too much. I'm going to reduce that down a little bit, so it's just a slither of a shadow there. And then the right hand side can mostly be in shadow. And there's also like, some windows that we can imply here as well. So let's just draw on a bunch of these windows. You know, in the background, there are a few bits and pieces back there, but I'm going to emit some of that stuff. There is this tree as well coming in, forming some kind of connective branches. Which you'll be able to get in with the rigor brush afterwards, get in maybe a few of those golden looking leaves as well. Okay. But apart from that, we pretty much have everything that we need. I mean, that's Yeah, there are some more, of course, greens and smaller trees and stuff here in the background as well, but we can get that all in with one wash. 65. Day 30: Gustavsberg Painting: Okay, let's get started. And the first thing I want to do is put in a bit of this golden sort of color in the bottom of the scene for the the grass. Okay. So it's really just a lot of this sort of yellowish value, and we'll just touch that onto some areas. L to mix in a little bit of green as well, sometimes so that we've got some lighter greens in here. This needs to be really light, this green that we're putting in. Okay? Really, it's the lightest part of the scene. And I'm using a lot of golden colors. This is like a Cronacrodon yellow or Indian yellow, which does work very well. For this circumstance to create that golden light that shines through the pathway itself could do with a little bit of yellow in there as well, but this is just subdued down. I've used a bit of yellow mixed in with guash, with white guash to create a kind of more grayish, more subdued down, yellow. I've just mixed in a bit of a little bit of this other color as well, basically just a gray leftover on the palette. Okay, so that's the path, the path just has something, you know, some kind of value in there as well. Okay? There's the back section, I'm going to keep dropping in some greens and some yellows, just to continue this on. Okay. More yellow. Not afraid to use too many yellows here because we've got a ton of light. Now, notice I'm just dropping a bit of orange as well in some parts. This is going to be helpful to indicate just a bit of that autumn feeling, you can see with some of the shrubs and things, they have a bit of a more orangy appearance to them. Even here in the grass, you've got some bits of orange, as well. You know, they are just leaves, essentially, okay? So moving that through, really being generous with with the warmer values, here is some green. I can just put in some of this green. We need to put the green in as well, because I mean, it's really the predominant color if you look at all the grass. But if you put in the green first, I find that, you know, the oranges just disappear, so you've got to be pretty pretty careful with this. Okay? Me orange, a little bit more orange sections. Okay. More yellow maybe here in the edge. Okay. Remember, the greens are very easy to feather in afterwards, don't worry too much. Bit of greenish value here in the background as well. Maybe some more yellow in there as well, just cutting around this house. But we need some lighter values back there, too, lighter green values. This is all just like the background mountains and what have you in the distance. Need to get that in very lightly, like that. Sort of cuts through the trees a little and behind the house, as well. Bit more behind the rooftop of this house. Just using that same mop brush to do this. Maybe some more yellow and some more orange in here as well, just to the left side. And some green. Well. Great. Now, time to get in some of the skywh. I'm going to pick up ultra not ultramarine blue, but a bit of cerulean blue. And we're going to start right off the top here pretty strong. And as I move down the page, as I move down the page, I just tilt the page a little bit. I'm just going to add more water. Okay? So just add more water to the brush, move this wash down as you go. Okay? This is going to create a nice kind of gradiation gradation where the wash gets lighter and lighter as you move down. Simple graded wash. And when it hits these mountains and bits of things down below, I'm not going to worry too much if it runs, that's okay. Okay, as long as I get it in with one go like that. Okay, fantastic. So I've got a very basic wash, and it sort of looks like it's dark, a little bit darker on the top and lighter down the base. Okay, bit of blue, cerulean blue also for the water here. I need to just drop that in. It needs to also be a bit darker than the sky wash, right? So dropping that in, hopefully not making sure it doesn't spread too much, but if it does, it's also not a big deal. Okay. Good. A bit of water there. Fantastic. Gonna just feather in a bit of green here now. Okay. Fantastic. So really the next step here is we are going to be putting in some small details for the grass. You know, for example, I might want to drop in some oranges, some yellows or something just in place in some areas where I, you know, create some blooms or things like that. So I guess sharper sort of effects, I suppose. We've also got this fan brush. I've got a fan brush that I use for these sort of effects as well. Just to help feather in a bit of green. I've picked up already. I needs more green in some parts, like that kind of thing. You can also spray the paper just a little bit to encourage the paint to move around a little bit so that you can continue going into this area. Okay, it's just a bit of green We haven't even gone in with the real darker greens yet, but this is just some mid values that I think we need to imply in here. Good. More yellows, more oranges in some parts. Well, again, just trying to emphasize a bit of that autumn feel. Especially maybe out the back there, there could be some more orangy looking trees and stuff. Okay. It's just the paper is still wet. So you've got this great opportunity here to continue dropping in color and create some interesting effects while everything is still wet. It's these trees behind here that I really want to imply and get in some details of some of those here as well, kind of growing near the front of the scene. Okay. I'm gonna go in with flat brush and try to get some nice looking shadows, sort of wet and wet shadows running across. I've got some purplish color, which I'm going to mix with blue, ultramarine blue and purple. And I water this down a little bit so that it's not too much, but I just testing here. Yeah, that's okay. Maybe the mop brush might be just a bit better for this section first so that you get broader brush strokes. You always have to choose your brush based on whatever you're painting. Here I've just got to take a little bit more care. Here, you can see there's a bit of darkness in there in this section of the path, there maybe. Even back there, it's getting a little bit darker as well. The more blue, more green and blue mixed together, maybe, like that. I find that blue and purple works quite well as a shadow color. Back to the round brush. Going to connect this on like that. And the purple, along with the yellows in the background really make for some fascinating contrasts. Here, that needs to be sort of left for a bit. Yeah, this has to be kind of a bit sharper, I guess, this bit of shadow area. Um, Yep. Ideally, I want some nice softer shadows and some really kind of harsher shadows running through like that. You can only do these wet and wet shadows once before they look way too overworked and not natural. Yeah, this is, like, a pretty big shadow, I suppose, coming in from out there, so just gonna get that in a bit. I'm thinking whether I should invent another one. I think I will. I might invent one coming through here. Yeah. There we go. Could be from an imaginary tree out in the back of the scene or something. Okay. Got that nice bit of light preserved there in the front. Hunk. Leave some of this stuff here, you can see, it's kind of like the orange that's shown through. And I will actually use another tool to scrub off some paint in a moment. But I'm just kind of looking around, seeing if there's anything else that I that I think I need to imply here. I mean, so far it's looking pretty good. Maybe a small round brush to indicate some darker, I don't know, not darker, but like some other greens in this mix here, would be good. It's at the moment, very orange. So just some more greens running through this area would be nice to balance it up a bit. Um, more of these shadows. I'm trying to get them in a little bit sharper and Yep. Yeah, look, there's actually some see bits here that sort of run up. You put some black in there as well. The difficulty is trying to leave the light on top of things as well so that it doesn't look all, you know, washed out. So yeah, you've got to use a bit of imagination here. Back in those spots, especially, you can see it's like you have some darkness and bits in the back as well, softer areas of darkness. Okay. Good. And I think a bit of a bit of tree shapes here would be good, too. Yeah, I'm exaggerating this a bit, but again, just to create some extra layer of trees here. I think I really need to do this to help make that background look a bit more interesting, more believable. Okay. But, you know, leaving a lot of that light, as you can see, as well is so important. I'll probably have to bring that path back and with some guash or something later on. Well, you know, I could probably, you know, could just leave leave it as it is, too. Um, let's do the house. I'm going to get a darker value for the rooftop, like just a grayish value. The rooftop needs to be pretty dark. For this, yeah, let's get the right hand side of the chimney, bring that down. Y. Some of it might mix. That's okay. No big deal. This shadow here, I need to blend this in connect it onto to the roof, like that. The bottom part of the house, I reckon just a bit of light blue, really light sort of color like this. Be good. So should sort of blend into each other. There good. That's that house. Pretty simple, but it's there. And Okay, it's dried off a little bit. What I want to do now is, use the spray bottle again. And let's see if I can scratch off some of these leaves, these little autumn leaves. Let's try. Mm. Basically just scratching a little bit of that paint off, maybe to indicate some of these little leaves. I don't want to overdo it, in some spots. I think it creates a bit of texture, bit of interest in this scene, which I think is sorely required in sometimes in watercolors because it's so difficult to create any, uh any light areas once you've gone back into the once you've gone back into them again. So I can scratch them out. That's really the next best thing. And as you can see, I'm using that also to create a bit of bring back a bit of that path as well. Um, you know, you can scratch some of these little bits of grass out, as well. So just, you know, as you can see just little bits of grass, maybe here and there. You can see them actually near the trees here, little bits of grassy sections like that. Don't want to overdo it. But yeah, the main thing here in the front was just try to bring back a bit of the previous wash, a bit of that the orangy leaves or whatever here that might be sort of scattered on the ground. Yeah, without actually having to paint them in. You know. These ones were done already. There on the side, they were fine in the beginning. Okay, so I'm going to put in the trees. Let's pat them in using some darker value. Just any dark value will do fine, preferably with a touch of brown in it as well, it's warmer. We start with this one here. You can see it sort of comes up. I'm holding the brush very close to the bottom, as well, so that I can get in these tiny little details that are difficult to get in otherwise. Okay. Runs down the base there. It's just a bit of brown really paint that I have. Looking at that reference photo and trying to get this idea of the branches, and I'll skip over the page a little bit, as well, so that the lines kind of skip over in parts, so it's not all, you know, completely defined sort of lines. These will be kind of the darkest sections of our painting, really, these little branches, if you think about it. So we got to make sure that, you know, they kind of identify they look like proper branches, okay? And there's no leaves on them, so there's not really much you have to do, okay? But I do think you still have to put in some decent effort to make sure that they come through and look like branches as well. So really pay attention to the reference, and you know, try to Okay. Try to observe, for example, these branches, how they split off into smaller bits and pieces. You know, I also have a little rig of brush. And the rigor brush, probably let you do this with more ease, as well, like this. Yeah, that will work fine and with more precision like that. I'm making this tree a lot larger than actually than it actually appears as well. So, um, there's this other one here in the front, this other tree there, again, we're just drawing with the brush. And this is why I don't like to do too much of this stuff in pencil first. I mean, we're going to go back over and do it again, essentially, so there's no point. There's also some branches that just sort of go over and come over to the left sort of thing here on the ground. So this is going to be important. Some more here, maybe. Some more trees. They just line line the path, and they get smaller as you go on. I'm just going to change some of these a little bit to make them slant a bit, maybe. Okay, so that they look more interesting, look all exactly the same. Yep. The rig of brush is so helpful for this kind of work. Notice how I'm just skipping over parts of the paper and letting it just not continue on any further. Sort of skips over so you don't have continuous lines all over the place. This is a great way to imply light. You know, here's another one here in the back. This tree here, this is quite interesting. It's also similar, but there's so much detail. Look at it. You just could spend all day painting this tree, but you don't want to just put in the branches, and thankfully, you know, we're looking at, you know, autumn scene because if this was a you know, a summer or a spring sort of scene would have to contend with the leaves as well. But, thankfully, we only need to do the branches. Okay. That's that tree there back in the distance. What else do we have? I mean, there's another one here. It just depends how many you want to put in there, how detailed you want to make this scene. And, you know, there's another one. And again, there's just quick little marks on the page to indicate that the branches go up and some sort of sprout off the side like that. But at the end of the day, they'll kind of join onto each other, don't they? So here. It's another one that I just thought I would imply. You know, there's a really distant tree off in the distance over here as well, so we can make those marks lighter, appear a bit lighter there. Okay. So over here as well. Try to vary these brattrokes so that they look more interesting. There's a larger branch coming in here from the side. I've drawn this in before with the pencil and so here we go just going over those lines with the rigor brush and helping bring this across the scene to create this continuity You know, there's also some of this orange color for the leaves. I'm gonna drop some in here and there. Try to imply this. Sometimes with a few little brush strokes like this, that's all you need. Just an orangy color, maybe some yellow as well. I mean, it's really combination of orange and yellow in some parts. So just imply some of those leaves. Rustling through this left side of the scene. It's more yellow that I'm using now, actually, to do this. Um, and just sporadic little things like that, um, Good. Let's put maybe a bit of detailing into these houses house here now. Just underneath the roof, I'm going to darken here. All right. And I've got to do the windows as well. So there's one that's another there. The other side that kind of gets a bit complicated, but we just want to indicate the windows like that. Um, what else do we have? I mean, these ones have a little it's like a little frame around them, actually. Well, there's a lot of little bits and pieces we can put in here. But, I like how there's these little, uh, you know, wooden boards that you see running across the house. So I'll just try to do some of that in places. Okay. Do the window frame a little bit as well here. Chimney. Fantastic. And I'll call that one finished.