Absolute Beginner? Learn Light & Shadow Without Fear In Watercolors

1. Intro: Llo, everyone. My name is Danish. I'm so glad you are here. Most watercolor bigners struggle with one thing, making their paintings look flat. The missing piece lighten shadows. In this class, I will guide you step by step on how to bring depth and life into your art using simple bigner friendly watercolor techniques. You don't need to be great at drawing. All you need is your paints, a brush, and a bit of curiosity. We'll start by understanding the core concept behind it all, the form principle and which is really important, and how light interacts with basic shapes like sphere, cube, and cylinder. Once we got this, I will show you how to apply those same ideas to more complex objects by analyzing light and shadow for each. To put everything into practice, we will work on two cityscape projects and also include a bonus chapter to have a complex scene as well. We will reveal what we learned about the form principle and apply it in a creative hands on way. By the end of this class, you have the conference to look at any subject and understand how to paint believable depth and atmosphere. Let's dive in and start painting. 2. Chapter01 FormPrinciple: Come to the first chapter of my light and shadow in watercolor class. Before we begin, I highly recommend watching my Skillshare class, how to create three D objects in Watercoloor. In that class, I covered the form principle, which provide the essential foundation for understanding light, shadow, and death. These base concepts will help you to get the most out of this course. As we explore, how light interacts with the form in watercolor painting. Let's get started. Now you have the base understanding of form principle, and now let's jump into it. In the first one, we're going to do a simple sphere. I'm just going to do a basic simple shape of a circle here. If you see the reference, the light is coming from this side. You can see there's a big spot there. That's a spot, we call it eyelets. This is where the light separates from the light side on the shadow side. This is the shadow side and this is the light side. I'll say light side. Shadow side. Whenever light it is an object, it also gives a shadow at the bottom of the floor. This is called, since it's a casting the object on the ground, this is called case shadows. I'm reiterating the form principle again so that we get an idea as the first chapter. This is our elight. If you see in our reference, there's something also happening which is here. When a lights, it comes and eats here and it bounces back. That's how the light interacts in the real world. Sometimes what happens is, since in our reference, it's a black and white image, it's bouncing back the white light here. I'll just put it a column here. This is called bounce light. Let's assume that this is a red floor and it will bounce red color on this or ball. Since this is a white table and it's reflecting white light on our ball, let's put this into practice. You can use any colors you want and I used squeeze some azar and crimson here, I'm going to use that. So for the eyelids, I'm going to leave the white paper as it is, and I'm going to layer this slowly. There's also multiple ways to do it, and I'm just showing the way which it works for me. I also want to make sure that this looks really basic since it's our first chapter. Can see that I created the first af tone. This doesn't look flat anymore. If you can see that wherever the light and the shadow side separates, there's a softer transition happening. I'm going to apply some clean water. I'm trying to create that softer transitioning gear. You can see that here and there you go. You can see that now we have the light side and the shadow side. I'm just going to layer again so that I can show the difference between the light and the shadow side. I'm just going to clean my brush. Now you can see that we establish the light and shadow side. Here you can also do something called working on the bounce light. What you can do is you can just take off some of the paint like this and you can see that as soon as I do that, it gives that bounce light happening on the sphere by itself. I'll just work on it again, soften this a little bit up. Now we can add the core shadow. The core shadow is the one. It's a darker spot here on the form principle. If you went and saw the video on the form principle, and this is the darkest area, which happens here. I also bounds here, come here and do this right here. And I'll go like that. Now you can see that I also left some lights for the bounce light as well. I'm going to clean my brush and I want to soften this area like that in this area too, and I'll soften it like that. So I can show the bounce light and you can see that we created this really nice. They're slowly transitioning it and we also getting the three D look on our object. This is really important in painting, thinking in light and shadows and thinking in eyelids, the case shadow, core shadow, and the bounce light. This helps us to reduce any objects to the three D forms. There's only one thing missing is our case shadow, which is also the darkest. I'm not going to use that much water. I'm going to combine this guy with this guy. I should have weighed and I would have dried it, but I'm not drawing it, but I'm just painting on the go. As soon as we do it, and you can see that we created a three dimensional sphere, and we also have the cast shadow. There's one more thing we can do is vignetting. Vinetting is nothing but if I put it here, and you can see that now the white area has become a little brighter because it's fighting with white paper and it doesn't have that much value. As soon as I add this, and you can see that the white object, what we created, look three dimsed already. The one thing I could have done it, but I didn't do it is wet it, then painted this part. But it's okay. Since it's the first chapter, and this is just for learning purpose, just understanding the light and shadows. You can see that just by adding that you can see that globe which is happening on top part of our sphere. You can also layer it if you want to go a little bit darker on your core shadow. The more you align the value with what you're seeing in your reference, it will look three dimensional. And you can also take this little bit up like that. I'm just going to bring it down and combine it here with a bound line. I want this transition to be really nice on taking clean water and I'll just wipe it off like that. There you go. Now you can see that we cannot create a three dimensional object just by using the concept of form principle. If you have any questions on this chapter, please let me know the comments and post on the class section. I'm happy to explain it and give a demo pointing all the things. 3. Chapter02 Applying Form Principle: Welcome to the second chapter. In the last chapter, we just did a simple exercise of how light and shadow effects with a little bit of value exercise and creating a three dimensional form just by using light and shadow concepts. We'll do the same thing in this chapter, but we will just apply on real world objects. For this chapter, I picked the apple, the green apple. You could pick any reference of your own or you can shoot your own references and you can upl as well. So I'm just doing the basic sphere and I'm just checking the top part of an apple. You can see that in matter of seconds I did it, and let's analyze where the lighting is coming from. If you see the shadow casting on the apple, it shows our lighting direction. It's casting the shadow on top of this apple like this, the lighting is coming from here. You can also see this bright white spot here. This is the high lights. This is a one of the case shadow of the top part. There's also a cash shadow since this is going to be on the shadow side because this is dipping in and this is going like this. This is another case shadow. There's also another case shadow, which is going behind everything and just coming like that. And this is the big case shadows. I'll just put a cache shadow here. This is our second chapter. Everything you do in the beginning, if you're new to watercolors and if you're new to lighten shadows, just to try to break the sound. Because what happens is this gets easier and easier. When you paint, you can literally go and do it without doing all the steps what I'm showing. That's land. If you see the core shadow, it stops all the way at the top here. And it goes all the way here and it stops here. More block it so you guys can see it and it goes here and it goes here. This is our core shadow. This is the one which separates them, the light side and the shadow side. There's also the bounce light happening which is underneath the apple itself. This is where it goes till here, the bounce light, which is happening here and I'll type it. I'll write it here, bounce light. And this is our core shadow. Just by analyzing the lighting direction and where it's coming from and just by knowing where the eyelets and where the case shadows are and where's the core shadow and where's the bons like. It helps us to simplify our apple for us. So since people are new to watercolos, I'm going to layer this slowly and not rushing it so you guys can understand how we can layer in watercolos and get three damaged look using light and shadow concepts. And the apple looks green. You could use any colors you want. This is our first wash. This is the lightest wash. I'll just apply a wash all over the apple, the shape of the apple. Really like that. What you can do is here. You can also the highlighted areas right here. I'm just putting some green there. It looks like there's warmth in there. I'll just put it here and there you go. Now what I will do is I'll dry it and I'll layer the next wash on top of it. Now we are back and you can see the dried quite a bit. I also did one more step, just adding a ray amber on top of it when it's wet and that's all I did. Now let's layer the next value. I'm going to go to the green and I'm going to take some radiant. I'm just going to go and apply another wash on top of it. This is our second wash. I'm going to preserve the bounce light like that, and it goes here, right here and right here too, and I'll go over the top part. I'll just go again on the top. When it comes to the highlighted area, I'm just going to leave it as it is. It also gets lighter because this is a light side. I'll use more water to this side, there you go. Now I dried the second base, what we added with just leaving the eyelids and glazing over it. Now let's go and add the darkest dark. The darkest dark is the core shadow on the case shadow. I'm going to use my radiant and I'm going to use a neutral tint. Take some more. I want this as dark as I can. What I will do is I'll just apply this on the core shadow. Just by adding that you can see that it started looking three d already. I'll just go on add this. I'm seeing other darker areas, where can I see the core shadows. These are the two areas you see and it also goes back all the way here. Let's take it all the way here to same thing here as well and it stops here it goes here. Once we applied, one step I'm going to do is just smoothing it. I'll just take some color and just smooth this area to this area and constantly thinking about how the form goes in here. I'll just do it here and it stops here. I want to preserve that eyelet and I'll just go here, do this, do this. If we all take some more water, just put some more water here and we will soften this area and this also softens too, and I'll soften this area as well. I'll just bring it all the way down Making sure to keep that eyelids as it is. You can see just by adding that we are seeing that it's getting three dimensional already. I have to soften this as well. I'll do that and soften it till here. I'll take some more water and I'll just soften it all the way here like this. There you go. You can see that we can create this really nice core shadow and everything. Let's say if you want to go a little bit darker, now we can also have a little bit of fun with it. We can use a little bit of neutral tint and this red and just apply it here and this will bleed and create this really nice darker core shadow. I see really darker here. I'll just apply a little bit of darker value here as well. And there you go. Now what I'm going to do is I'm going to take this same neutral tint and ridian and I'm going to add the case shadows. You could add any color for the case shadows. I'll just combine it here, here. This is the most important part. You can see that as soon as I went this side, I went over it, but it's fine and we won't tell anyone and I'll just combine it like that. You can see that we can create this really nice casting shadow of the apple. I'm just going to take this off like that. Now I write the core shadow on the case shadow. There's only one thing that is pending is just adding another case shadow on top of an apple. Once we add that, you will see that the form will be announced even further. I'll just add it right there. And it's going like this. Just by adding that you can see that it just gives this really nice look. There's also a little bit of this sharper shadow there, and I'll just bring it here and I'll slowly bring it up. Just by adding that and I'll just slowly blended it on the top. Now you can see that this guy even enhanced this entire thing at the top of the apple now looks really three dimensional. I'll just take some clean water and I'll just soft on it because it'd have to be a soft edge, not a harsh edge. Even the top part as a lubra value there, like a darker value. I'm going to take some Cipia or neutral tint I'll just add that. You can see that just by adding that, it gives really nice shadow side on the light side of the top part as well. Now you can see that we took a basic apple and we analyzed where the lighting is coming from and where the shadows are and where the core shadows, we slowly build up the pigment layering technique to use light and shadow to create the dims forms. Once you understand this concept and try to apply on each and every painting, every object you paint looks very dimision. 4. Chapter03 Basic Primitives: So now let's apply for the core shadow and the cast shadow. If you look at the reference, and the core shadow is exactly here. It goes all the way here, and I'll just frame our our sphere as well. You can see that I created the core shadow on the shadow side. Now what I can do is I'll take clean water. Since it's a cylindrical surface, if I put clean water here, and it will create this really nice softening edge for me. I'll take clean water again and I'll soften it like this. And make sure I'll take some more water, some more pigment soy, and I'll put something here. It shows the other side as well and I'll soften it as well. I'll just combine it here. You can see that in a matter of seconds, we're able to create this three dimensional form based on light on the shadow side. That's the two things I'm worried about. Nothing I'll just leave it as it is. You can see that it's already started looking three dimension. I'll do the same thing for the sphere. Now I establish my core shadow. Now I take clean water and I want to soften this like that. I'll make sure that leave some white bits for the highlights. The same thing here, there's a bounce light happening, it has a lighter value and I'll just use the water from my brush to show that there you go. Just by doing that, you can see that can establish the three dimensional form on the sphere itself. I'll take some clean water and what I'll do is I'll just make sure this is softer, not s there you go. Now you can see that we can create a three dimensional shape just by using the concept of the shadow side, the core shadow, and the bones lights. I'll just come on it like that. And there. So now let's go to our cube. It's the same thing. The cube, it's going to be tricky and I'll paint the top face a little bit later because I don't want the sphere to be bleeding on my cube. I'll just do this side. I know this is going to be darker. We'll come back again this side. Now let's go to the cylinder instead. It's the same concept. What I'll do is I'll establish my core shadow. Establish the edge of here. Again, I'm not trying to be neat with my brush strokes. I'll take some clean water, some pigment, and I'll just combine it like this. I'll just do this at the top as well. I'll take some clean water. Again, I have to soften this. And I'll just do this side as well. And I'll take some clean water. Again, I just want to make sure it's not harsh yelled, it's a soft eyelds. Just by doing that, you can see that we also created the three dimensional form by using the light eating gear and adding a core shadow and adding the foam, which is go at the end, which is darker, and we're able to create this. Now, I'm going to add the top pot, but I want to make sure it's dry or else it's going to bleed. Now I dry a little bit and I'll just add the top line. The top line have to be a little bit lighter. What I'll do is I'll just take my thing and I'll just do this like that. Now we can see that we cannot create the top line. The only thing that is missing is this guy have to be darker and this is our core shadow or the shadow side. I'll just put something here like that. There you go. Now you can see that even the cube started looking three dimensional. There's only one thing missing is, you guessed it, it's the case shadows. Let's ask the case shadows, and I'll start with the cube. There you go. Let's do the cylinder at the back. But if you notice in the reference, the cast shadows are a little bit blurry. If you want, we can do that too and I'll show you. But this one, the same thing. I want to make sure that get the shape right. That's why I'm trying to be neat or else I have not done anything like that. There you go. Now we can see that we cannot create this. In order to get blurrier shadows on both things, I think we did on every chapter or else we also did this on once we add the core shadow, we cannot blurt it out. That's what I'm trying to do. This also gives us realism in our shadows. Go here, I'll take. Like that. Now you can see that the shadows look more realistic. Before it dries out and we can also vintt the background, the one we did in the first exercise. This step, you don't have to do it, and I'm just doing it. This also helps to frame our three D primitives. Just adding a value. There you. Now you can see that we can easily create just understanding the concepts of light and shadow and we can have created this. I can also even take this even further. What I could do is I could create this really nice, look. What I'm going to do is I'm going to take a thinner brush and I'm going to use a darker value. Maybe I'll use I have to be no pigment, no water in your brush. I'll show in a second what I'm going to do. H and this anchors the cone on the ground. And the same thing here for for the sphere, especially for this guy who really need it. Just for fun, and I'll just soften this area. There you go. Now we can see that we can create this three dimensional form just by using the concept. There's one more thing you can do it as well. If you go and check my other Skillshare videos, there's one thing I always tell people to do is checking, squinting your eyes, and checking if your values aligned. For example, when I looked at the values on the cone, it went a little bit dull. I can go and glaze over and this is called glazing. What this helps is to go and increase your value on your three dimensional shapes. Even this one. Just by doing it, you will notice a noticeable difference on all those things. That's why if you want to learn what values are, how to increase your value, how to decrease your value, you can always go and check out my other Skillshare class, how to do values. Just by adding that you can see the contrast become really more three dimensional as we add it. I'll just soften it. It's the same thing what we did. This is a tricky part my students have issue with is just layering the value and squinting your eyes and checking your value. If you get good at it, your paintings will look so three dimensional and look so realistic. If you go back and check back our values, what we did earlier and you will see a noticeable difference. Now it looks like multi dimensional. The values are even close to the reference, what we have. 5. Chapter04 MapleLeaf: Chapter, we analyzed the lighting and we also did this apple. This one, let's do something different. I really recommend in the first couple of exercise, do the exact same thing what we did in the apple. It's the same thing, I'm going to do it here. I'm going to do a maple leaf and let's go and sketch it. Again, when I sketch, I keep it really simple and this is a process for learning, lighting and shadows, not thinking about how realistic you can get this object or anything. You can see that I put the leaf exactly in the middle. So the shadow is going to be going out of the paper. That's fine as well. And just seeing the shape of it and there you go, now I can able to create this maple leaf with quick simple strokes. Let's do this as well, and there's the leaf pot at the bottom. You can see that I did it and if you want, and what we could do is the same thing, analyze where the lighting is coming from. If you see the reference closely, the lighting is coming from here. I'll just put it here. The easiest way to think about how the lighting is coming from is looking at the shadow and how it's casting. Looking at this angle, if you look at the angle, sorry, the lighting is coming from this side. That was wrong in the first time. And I'll just add the shadows here goes like that, and the shadows going here, like that. I'm going to ignore the ground. I'm not going to be worried about the ground. I'm just going to add the shadows and the lighting. That's what we're going to do. It's also shadow here as well. The cash shadow ear. Again, I'm not trying to be neat. I'm just seeing where everything goes. Let's apply a wash here. I don't have any Indian yellow. The color, what we see in the reference is almost like Indian yellow. What I'm going to do is I'm going to combine Windsor yellow and a little bit of this orange in it. The Windsor allows I'm seeing in the areas of the light which is in here. I'll just go and block it. Even the Windsor law is going on the shadow side, I'm not worried about it because I know that the value is darker This is really important. You can always go and refer my class on how to do values. In that class, I went through the dark and lighter values and how to layer it to get a realistic painting in waterclo. You can see that this are some of the areas I'm seeing the Windsor yellow. Now let's go on layer with a little bit of this orange. And this is Windsor Orange. I use Windsor Newton, professional grade watercolor paints. Again, you don't have to use this paints and you can use any paints you want. This is the one I used for a while. I think every artist, um, connect with one brand, and this is the brand I connect with a couple of my students they like Paul Rubens and some people like Schminke and hopefully I'm saying the name right. It's a German brand. It's really nice and it's also a little bit expensive. But some people artists connect with those brands. There's also Turner and there's also Obin. There's a lot of brands out there, pick one which speaks to you. You can see that I'm blended this orange with this mins. There you go. If you see a couple more areas of this Monzlllo, let's go into layer. I also say see some here as well, and I'll add as like that. There's also some here as well. I blend it and there you go. Now you can see that we cannot layer the leaf with the thing. The same thing I'm going to do here is I'll use the same mensa yellow and I'll just add this right here like that. Now I'm squinting my eyes and I'm seeing there's any other areas I could do some ads. As I showed in the previous techniques and everything, I take some tissue paper and dab some paints and get some paint out of it. That way, and I'm creating eyelids just by grabbing, taking some of the paints from it. You can see that we can create this real nice eyelids for it. Now I'm going to layer it and I'm going to come back and I'm going to add another layer on the top of this to create more three dimens look to the leaf. I write quite a bit. There's a little bit of wetness in it, but it's okay this will help me get started. I'll just go to this orange and I'll like a little bit of low ochre I'll start from this side. I'm just checking the areas where the leaves are folding. And stops here and it goes all the way from here and here. There you go. There's also a couple here at the top. Again, I'm going to go and soften these areas. There's also the shadow and we'll add the shadow a little bit later. But I'll just layer one more value just to show it's folding in like this. It also goes here and it goes here like that, and it also goes here and goes here like that. Now what I'll do is I'll go here, use my clean brush, and I'm going to soften it. This areas like this. Again, this is just showing the three dimensional way of the leaves and also soften here too. Make sure you also use a good paper or else it's going to the results might be a little bit off. You can't able to soften it as I'm doing it now. The paper I'm using is Winsor Newton and you can use any paper you want. There you go. We created this really nice leaf with a little bit of things in it. You can see that it's not reading that well yet, but once we add the shadow, and you will see that it will come alive. At the bottom, I'm going to add a couple more values like that to show just trying to enhance this look even further. And There you go. Now I can see that everything has been set. Before it dries out, I'm going to add the shadows here. What I will do is, I'm seeing this really reddish tone. I'm going to use born Sienna. I'll just go here. I'll just go here and combine it all the here. Connect the leaf and then go and do that. Maybe I'll take some CFIa as well and I'll go at top of it. H there. Now, I'm taking some yellow Ochre, since it's a cylindrical shape, as we learn in rendering the basic primitives, and it's going to turn. I'm just taking clean water and trying to create this really nice island. Just by doing that, you can see that we can create this three dimensional leaf already. This will take looks three dimensional as soon as we add the shadows. I'm not going to wait anymore. I'll go and add the shadows, so I won't drive and let's go and add the shadows. For the shadows, I'll just go a little bit of, um, nice color. I'll just use French ultra blue and I'll use a little bit of cifa in it, so it doesn't look that blue. I'll go, there you go. I really like this color. Now, I'll start from the top and I'll just keep looking at the shape. Outlining the shape of it. Now I can go and fill it really fast. As I said in the beginning, we're just going outside the shape, so I'm not worried about it. Again, this is not the class to create a realistic rendering. This is a class to think about light and shadows. And there you go. I'll just go here and I'll just connect the shape as well. Just by adding this shadow, you can see that our leaf looks three dimensional already. Just by adding the light and shadows, we can able to create a lot of realistic watercolor paintings. You can see that I'm combining this with this one and there you go. There you go. Now, the same thing, I'll do the same thing for the bottom part. The bottom part comes all the way here. I'll just combine this one to this one. And there you go. You can see that we create this really nice three dimensional leaf sitting on the floor. This side, there's also shadow. I'm going to add as well. I'm going to make up the shadows a little bit here and I'll just come and add like that and there you. You can see that now we can create this three dimensional look on thing. There's one more shadow I have to add, which is on here. Let's go and add that. That one is I'm going to use this orange and bone Sienna. I think that should work. If you want, you can also add a little bit of bone timber, just increase the value. When I'm checking it, it comes here and it goes like that. Trying to see the outline outcomes. And it rolls or like this. And like here. There you go. Now I'm going to take some clean water and I'm just going to soften it. You can see that we can create the shadow for the leaf as well. The one thing is bothering me is the values. The value is not aligned properly here, so I'm going to go and layer or again and we'll add the shadows on the top of it. This one is good and I'm not happy with not looking three dimensional. I'll just go and add another layer. Again, these are the additions you have to take while you paint. Again, I'm not scared of going and layering a value again in my paintings. My goal is to make sure that even when I'm painting um, any kind of painting. My goal is always to make it look three damaged. If it doesn't look three dimensional, there's only one issue that's happening is we're not capturing the light not properly or not conveying our light and shadows just by doing this, and it will get better. I'm pretty sure about that. I'll go here and I'll soften it as well, like that. There you go. I think that works pretty nice. It helped. There's also a darker value here as well. I'll go ahead and add it like this on the top. Just by adding another value on top and you can see that our leaf looks three dimensional already. The only one thing is pending is the shadow, which is here, we have to add and I want to dry it and come back and I'll add it. Now I dried it, you can see that it's quite dried quite a bit. I'm going to take some burn sienna and a little bit of orange and that should help and we'll add the shadow now, maybe a little bit of Cipia. So that this value I'm adding, it's going to look darker on our painting and on the leaf sorry, not on the painting, it goes like that. It comes like I'm looking at reference. It comes like this. Yeah, I think that work pretty nice and it comes like that, there you go, and it goes here. And that's it. There you go. Now we can add up the shadow within the leaf itself and it's also softer here and also softer here as well. I think that helped quite a bit. Again, we didn't paint the ground. If you paint the ground, it will give more contrast as well. For example, if I go and add some colors here, I think you can see that this will even enhance further. I'll just only do it on this side because I don't want to touch my shadows on the other side. This also helps to frame and you can see that I'm just adding only this side. By adding it, you can see that now it's the contrast is really nice for the leaf and for the leaf and the shadows. If you add the ground with a value, and it will look even more realistic. We can analyze the lighting and we saw where the lighting is coming from. We slowly layered the aftne. Then we layered the cache shadow. Then we also a mid tone values by layering it and we also add case shadows within it to get a realistic look. 6. Chapter05 Cone: In the last chapter, we analyze the lighting and shadow on a leaf on the ground. This chapter we'll focus on a different shape. In this chapter, I'll be focusing on a cone shaped object. This is a triangle. In the first chapter, we learn how to do an object of a sphere like apple. The second one we went with a complex shape, and this one is a pyramid shape. And we also did some primitives as well. Is the exact same concept of whatever you paint in waterclos. It comes to basic four shapes of cube, a cylinder, a sphere, and a cone. If you learn how to render these objects and also understand the lighting and the shadows and it gets easier and easier. The same thing. Now let's analyze the lighting. If you look at the reference just by looking at the angle of the shadows and the shadow is ting here, it comes here and it goes all the way here. Just by knowing the angle of the shadow, we know that we know that the lighting is coming from here. So this is a way of analyzing lighting in your references. Again, I provided a lot of references. You could pick anything you want, and this is the one I'm going for. Again, the shadows going out of the page, it's fine. Let's go and apply for the first wash. Again, it's up to artists preference. You can also go on block the shadows for you to see where everything goes. Whenever I tell my students is if you want, you can also go on shad as well. This also gives an idea of how you can operate the washes before you do it. It's like the first wash. The first wash is I see a reddish orange cone. Let's go and apply it and I'll also put some little bit of Munster orange. It's also quite bright. I want to capture that part. I'll just go here, making sure just capturing the shape as fast as I can. This is the exact same thing we did for Apple two just filling the shape and thinking about the shadows. Again, there's a black part at the bottom, but I'll just ignore it and I'll just combine as one single shape. You can see that I filled in the thing. Sometimes, let's say you want even darker and you can go darker as well. Not darker, brighter. Whenever you want to go brighter or anything, you just increase the pigment and that's it. We just establish the top part and let's do the bottom part. The bottom part is a little bit of warmth in it. I'll just go and mix French ultramarine blue and a little bit of yellow ocher in it. Again, if I go and paint this on top of it, what will happen is it will bleed. I'm just going to leave some white space there. This one I'll combine it because there's going to be a shadow and this one I do the same thing here like that. And it's bleeding into the colors, I don't care about it. But if you want to do the proper way, the proper way to do it is just making sure to dry, then do it and I'll just go and do this and there you go. We can apply the washes for both of this stuff. There's also this little bit of white pot underneath it. What I'm going to do is I'm going to take clean water. I'm just going to rub it off like that. The same thing here as well. I'll go here, take some clean water, and I'll just put some water here and it will get rid of the pain for me there as well. I'll show this side at the bottom and little darker side here as well, and I'll just combine it like this. Again, I just want to take this clean water. There you go. Now I'm going to draw it, come back, then we can apply the cache shadow as well as the core shadow on our cone. Now I dried the wash. Now let's apply the core shadow on the top part. Then we can apply the core shadow at the bottom part and we can also add the case shadow later. Let's focus on this guy. I'm going to take the same red and orange. What I'm going to do is I'm going to maybe put a little bit of this, um, what is it called bar blue in it. I got a little bit darker. I'll just put some orange. It's going muddy, so I'll just put some red in it. There you go. This is good. This is the thing I want. Look at the reference and there's a top part which is like that, and the shadow is going in like this, hoing over it, and it goes like that, and there you go. It goes all the way at the bottom. I'm going to ignore all the details at the bottom and just fill the shape. And there's also a sharper shadow, which is like houring over here. I'll just do it like this. Now you can see that we did it, but still the form is not rolling. The reason is we need to create a softer transitioning gear as soon as we create this softer transitoning, and you will see that the turns. Just going to take off the paint like that. There you. And I'll take a different brush because I couldn't able to take off the paint from this side. I'm going to turn my paper here and I have clean water in my brush, and I'll just rub it off the paint like this. Now you can see that you can create this really nice transition from this side to this side, the core shadow, which is happening on this side. Let's add the core shadow for the bottom part. For that, I'll just use neutral tint and I'll just go and add a couple of the areas like that. And just checking it again. Now I'll just go and do this. There's also this shadow pot on the other side, and I'll take some brush and make sure to soften these areas like that. So it doesn't look sharper. It looks like it's bending over. The same thing here as well. There you go. Now I'm going to add the shadow side for the bottom part. There is a bottom part which we skipped it. I'll just add it like this. This is to show the cone a little bit better. And, uh, and I'll just go and combine this shadow. It's also green at the bottom, but I'll just do one single shape. And you can see that we create this really nice cone shaped with just light and shadows. Again, if I go and take some paint, like that and you can see that we can see the eyelets behind it. Now we can see that we applied the same concept, but a different shape of a cone and we able to create this really nice three dimensional shape just by using the concept of light and shadow. As we learned in the beginning on rendering the cylindrical objects, the core shadow gets a little bit darker where the transition happens. That's why I was trying to do. I'll just go and combine like that and there you go. I'll just soften it. Maybe I just soft right here. And there you go. So now you have it. 7. Chapter06 ComplexShapes: Shapes. Now let's focus on a little bit of complex shapes. We will do a rock and you can see the lighting and the lighting is coming from this side, just like other reference I showed out to see the reference just by seeing the case shadows. Again, when you see a complex shape like this and you have to simplify it, the easiest way to simplify is thinking about the top plane first. The top lane would be something like this. And it goes here and it goes here. This is our top plane and there's also the side plane, which goes like this. Again, I'm not trying to paint a pretty picture and I'm just trying to block the shape as fast as possible. If you think about the shape, it looks like a cheesecake. This one goes here and goes here and goes like here. I'll just do this. There you go. There's also cache shadow, which is coming here, coming here, and coming like that, there you go. Now what we could do is we can take this and do the exact same thing. This is our core shadow. This is our cache shadow, and the terminators are here and the terminators are coming like that goes here and goes at the top and goes here. And these are the terminators. There's also some shadows here and there, but we'll just ignore it and we'll keep as simple as possible. Maybe I'll just do this here and there you go. Now let's apply a wash here. The first wash is mostly getting the af tone off it. I see a lot of this what's it called the amber and a little bit of low occur here and I'll just apply it and making sure to capture the shape of the rock as fast as I can. I'll go here. Go here and something like that. I'll just ignore the grass and we'll just paint the rocks as it is. Now here, we can also use utilizing the wet on wet. We can try a couple of Docker values on top of it. For example, I see a couple of these areas, which is going in like this and I'll just put some values here like that here too and this going here. Here goes here, maybe I'll put little yellow oak or to here and it goes like that. This is I'm making it up. You can make it up too, just to have a variation in it. Even this guy, if you see it, this value is going like this. I'll take some orange. I'll also mix some orange here and there, just to have color variation and not to the same thing here. This is just the top plane and the plane, which is going at the bottom. Actually, what I can do is the same techniques we have been doing in other chapters Azub. I'll take some of the paint. Like here, maybe I'll take some slim blue and try to take some of the paints like this. That gives what is it called them a little bit of variation on top of it like that. I'll just take some here and I'll take some clean water and I just put some dots here and there. There you go. Now we can create the top plane with the udbrog variation in it. What I'm going to do is I'm going to dry so we can get the really nice sharp shadow on this side. I dried it quite a bit and you can see it. What I will do is, you know what? I will just add some green. It helps us to frame the rock a little bit better and and I'll just do here and do it here, and there you go. And I'll just put some male here and there. Now you can see that we add some values and it also frames the rock a little bit better or it will be finding with a contrast. Now I applied this while it's drying, let's go and add the shadows. Let's add the core shadow for the core shadow, this on this side, and I'll take a little bit of this on this. I'm squinting my eyes and I'm checking here and here, I want to make sure to get this rock structure on the terminator. This is the terminator which is happening at the top. Whenever you see a shape like this, and this is our terminator. I'll leave some here and it comes here and there you go. Now we add the terminator. I'm really confident to go and add the core shadow. Just by adding that you can see that the shape turned in and we're able to get the core shadow and the shape of the rock. The shape of the rock is not reading that well because the plane which is on the side, it's not reading that well either. What we can do is, I want to show this side. What I'm going to do is I'm going to layer another value here like this. We know that there is a plane which is going this side. Just by adding that you can see that we able to see the other side of the rock as well. We can also add a couple more layers like this. There's also connecting here. I'll add a couple more here. There's also a couple more here as well. There you go. This is a couple of details I'm adding and you can see the layering slowly happening. Now it's almost dry. What I will do is I will add another layer on top of it. I think I went a little bit darker, but it's fine. What I will do is, I'm just layering some value to show There's a little bit of details happening. Just by adding it, we can see that we able to create this really nice adept in a a. There's only one thing missing is just adding the shadows for the shadows. I'm going to take this really nice sap green. I'll take some co baa blue. I'll take this thing. I think this should work. Now what I will do is I'll combine this guy and I'll just making not a straight shape, but trying to have some undulations or some noise on my shadow. There you go. If you want, you can also add some darker value where it's meeting. I can act as really a cast shadow. As we saw the sphere and other objects, wherever the rock is contacting, it will be darker and it goes lighter and lighter. And you can see that just by utilizing the concept of the lighting as well as the core shadow and the cache shadow, we're able to create this three dimensional rock in a really fast way. Again, it doesn't stop here. If you want to make this as realistic possible. Again, watercolors, it's a slow layering process. The more you layer it, your rock will get more three dimensional as well. I'm trying to add another value here just to show the side of it so you guys can see Again, what happens is if I go and increase the value behind it and as we did in the previous chapter, Veri, the light will gets lighter and brighter. What I mean by that is it gets brighter as we increase the value here. You can see that just by doing that, we can increase the value on this side as well on the top part of the rock. I can also do this. It's floating here, so I just want to have some darker values here so we can see the other side as well. There you go. Now we have it took the concept of lighting and shadows and we're able to create something really beautiful and of a rock. A really complex rock, but we simplified it and made it really simple from it. I'm just adding this like a bush around it, so it frames our rock even really nice as well. There you go. I'll stop it here. 8. Chapter07 StoreFront Part 01: Okay, so now we applied light and shadow concept on objects, you know, some complex objects like rocks, you know, some leaf, the cones. So now let's apply on a cityscape scene. Even when it comes to cityscape, you have to think about that everything in shapes, and that's the most important thing. For example, let's do this, uh, the convenience store. But again, think about the basic shape of this. The basic shape would be a rectangle. So let's block. So this is my shop, and this is also going on a perspective too, so I'm going to add that there's also three layers to it. There's a top part, that's a roof part, and there's the first floor and there's also this store sign. Again, a lot of students have difficulty of simplifying and I'm going to simplify this scene, and I'm not worried about the seeds exactly looking in my reference. The reason for this exercise is just to capture the lighting and shadows and that's the most important part. And I'm just adding the things here and there's also this an awning literally here. I'll just add that and I'm just checking where it's turning and there's also some trims here. I'll add it. There's also this big window there, but I'll ignore it and I'll just do a simple window for simplification. Actually, I'll just combine it here, the same way the windows, which is sitting on this side. You can see that I'm also doing everything as a single ships. I don't think about this roof or anything like that. I also combining like that and it goes here. And it goes like that. There you go. I'm going to ignore the windows there and I'll just add one windows here and I'll ignore the rest of it because I just want to make sure to simplify it for you guys since you guys doing it for the first time. There is also a building which is next to it, and I'll do it as a single shape, and there you go. This helps for us. Now let's think about there's also another building here. Let's add it, which goes here. And I'll just do this here and that's it. There's also this roof, which is here and we can do it like that. There you go. Now think about the lighting, where the lighting is coming from. That's the most important part. As I said in the previous chapter, look for the cast shadows and how it's casting. The angles I'm seeing is usually it's happening here. So the shadows are casting in this way. So the light is coming all the way from here and you can also see the lights are here as well. These are the clues, you can add it, and I'm going to add a couple of these shadows here. When I paint, I don't do it because I've been doing it for quite a while. I understand the lighting and shadows and you just block certain things here. Even for the windows here, you can also block couple of darker tones too. The same thing here. Again, here, our goal is not to do a pretty painting, just capturing the shadows. Wherever I see shadow pot, I'm just adding that. The trim is going all the way here and there's a shadow underneath it, and I'm also adding that as well. I'll just do it here. There's also show this shadow of the trees, which is also casting here as well. This shadow here, There's also shadow going inside the shop. Let's add that as well. All the things which is in the foreground, I'm going to ignore it. Even the things here, what's it called the There's also shadows here. I'm checking here. There's also shadows here as well. Let's apply it and there's also shadow here. And there you go. There's also, if you see, there's a big shadow which is happening here and we'll just apply it here like this. Now you can see that were able to add all the shadows and everything from our references. I simplify it because I want to make sure that you guys understand the concept of lighting and shadows here. There you go. This will help us get started. Again, let's start with the sky. That's our first shape. For the sky, you can use, what's it called cobablue or what is it called soleum blue? I'm trying to block this shape as fast as I can. There's also some clouds there. I'm going to ignore it. I'll just combine with solium blue and CBA blue. I'll just go here and frame it here. Just by doing it, we cannot create them. The sky wash really fast. Let's go to the roof, which is next to it. For the roof, I'm going to be using lubraf yellow Ochre and lubraf neutral tint. I think that should do. This is a little bit darker when I put it here and it's going to combine with the sky and that's okay, we'll combine the sky and the roof together. And I'll just do this. I'll also do this too and the roof for the next building. There you go. Now we add the sky. Now we add what is called the roof. Now let's go to the wall of the buildings. I'm going to use some orange and some yellow ochre. Hello here, some little bit of orange here. And it looks a little bit of red in the reference. Let's add some red. And I'll just combine it like this. You can see that this kind of bleeding, it's okay. You won't worry about it. Now we can see that we add the roof, then we add the thing. Let's add, it's also this building year. I'll add some couple of yellow ocher ear for this one at the bottom, I'm going to take some solium blue, some white paint. I want to get this really nice this white building, like a grayish white. There you go. The same thing is happening here and I will take some white paint and the same thing what we left. I'll leave the white trims and for this white window, and I'll just go over it. And this is com in the shadow. I'll go like that. We're just adding the miton value or the base color of other objects, and that's where we are doing it now. If I go to the bricks, it's the same thing. I can take some yellow ochre and I'll take some orange. I'll take what is called burn Sienna. That gives a really nice brick color for us. I'll just go and add these here. And making sure not to go or the windows. There you go. You're just taking the shape and filling the shape. When you paint, if you have something different, don't worry about it. Again, you don't have to exactly put my colors what I'm showing here and you can put your own colors too. And the rest is good. What I'll do is same thing. I'll take this white and a little bit of this solium blue. I'll put a little bit of this green in here and maybe I'll take some neutral tint. I think I don't want this to be white, so I can just have some variations in it. I know this red going to be darker than this value. This is why you should go and check out my value class. I have value classes. This will give more idea of why I'm doing what I'm doing. It gets easier for you. I'll just go here as well. There you go. Keeping it really loose, not worrying about anything. The same thing at the bottom, but I'll put a little bit of yellow tinge in it because I don't want the exact same color at the bottom as well. You can see that I'm not painting the awning because for awning, we're going to have our own colors, nice and there you go. You can see that we started from the sky, roof, the brick wall, and everything. Jumping from one place to another place. For the road and I'm going to be using I'll use a little bit of what is it called the amber to get the rod. And for this one, let's use a little bit of what's it called? This is the violet and a little bit of this blue. I will just do this. Maybe add neutral tint. Yeah this is our road. You can see that I took simple things, simple colors and tried to put all the colors together. There's only one thing is missing on our first wash is the awning. But for the awning, I'm just going to leave it white for this guy. But this one, let's add the same color what we see. This is this green. I'm going to use the sabgreen I'll use this torquis and I'll use a little bit of this neutral tint. I think we got that color. This is a little bit vibrant. What I can do is I can take some Cuba blue as well. There you go. Now we can get color. I'll just do it really nice. I think it's even darker, so I'll just go with a little bit of neutral tint. I'll go neutral tint. I'll just do this and there you go. What I'm going to do is I'm going to dry it, then we'll come back and we will start adding the shadows and you will see that everything will start looking three dimensionals. 9. Chapter07 StoreFront Part 02: Okay, I dried it and it came out very nice. Whenever we paint the shadows, we start from the background to the foreground. For the foreground, what happens is whenever things are on top of each other, there'll be a shadow, and I'll add the shadow. I'll take some orange, some cefa I'll just add the first shadow right here like that. Just by adding that shadow, you can see that it looks like the lighting started appearing on our scene. I'll do the same thing here as Wow and you can see the shadows which is happening in the reference to. I'll take this red and this blue and I'll just do this. There you go. I'll add a couple of windows that like that. This one, I'm just making it up. I'm just trying to add a shadow, and I'll just combine this to this. And I'll just combine like that. Now you can see that it also creates really nice shadow. I'll do the same thing here as well, just for fun and this doesn't happen there, but I'm just making it up. Just to enhance the shadows a little bit even further and that's it. Technically, we can all sat down to the shadow here, but I'll just leave it as it is. Now let's go and add the shadows on this building and there's a shadow here, you'll add it. And there's also shadow underneath it. That shadow is going to look different because it's going to be a different wall color and I'll show you in a second. I'll add some detail here just by adding the tinge of it and you can see that it's already looking really nice. What I'll do is, I'll just add some windows here. Actually, there you go. What this does is this helps to frame this building and there you go. I'm checking. Now I'll go and add this shadow of this c here. There you go. There's also a trim here. There you go. I'll do the same thing for this guy. This is not the shadow, but this will be in the shadow. I'll just add the shadow. For the awning, the thing, which is on top of it. I'll just combine it like this. There's also this couple of doors and windows, and that's it. So now I have this kind. What I'll do is I'll add the trim detail here. These are going to be in the shadow. There's also other shadow here and there you go. And the trim is going here, going here, same thing here as well. And there you go. You can see that everything falls in place as soon as we start adding the. First we add the light on the shadows, everything comes alive. Now let's add the top part. And this guy. And goes like that. I went over like that. It's okay. We'll go over the window too. This one goes here and creates a shadow underneath this guy as well. I'll make a little bit thicker. This piece is going all the way inside. There you go. What we will do is, we'll also make the shadow here for the window as well. It goes like this and it goes like this and there you go. You can see that just by adding that shadow, it looks really nice. I'll just detail for the window as well and I'll combine it like this. The light is eating on top of it coming from here. What I will do is I will also add here, the trims, you can see that it's thinner this side than that side. This side is thicker and this side is thinner. The same thing here, and the shadows here and here. Even for the windows, I'm trying to simplify it, not adding all the details. Let's go here. Same thing, actually. This guy is casting a shadow, it should be this brick color we have to add. I can add that there and there should be a line here because the light is hitting this side. When you look at the references, just analyze where the shadows are. You can see that just by adding it, everything sits on the place. You can see that there's a darker color inside. I'll take some neutral tint. Maybe put some white and put some blue in there as well. And I'll just fill in like that. And the same thing here as well. And I'll take this guy. There. Just by adding some details there, you can see that everything comes alive. I don't want to spend that much time on the windows because I want to go at the shadows at the bottom. For the bottom, it's the same thing. I'll take some neutral tint and maybe I'll take some co Ba blue and I'll just add this like that. Just by adding that you can see that it puts everything in place. So there's a shadow happening on top of it. I'll do the same thing here and just adding the shadow for the things which is there and here as well. The light is going in, but there are certain things which are showing at the door. I'm just leaving it as it is. There's also a shadow there here. And I'll add the shadow for everything here. And the shadow goes all the way here like that. There you go. You can see that just by adding the shadows, things start looking three dimension. There's only one things we have to add is the shadow of the shadow of the trees, which is casting air, then we can call this done. Again, I simplified it as simple as possible because I want to make sure that you guys understand the concept of it. Before I want to add the thing, I want to add the store sign. And the store sign goes here like that. This also pops our scene a little bit more. We go here. And we call done milk and there you go. Now, only thing that is pending is the shadow side. Once we add the shadow at the bottom, I think we can call this done. Again, we can add as much as detail you want, but we are simplifying it. The one more thing I'm going to do before adding the shadow, you can see the shadows of blurry in order to get the blurry shadows. I'm going to put some water here and there and this will give us the blurriness on our shadows. And I'll take some solium blue. Actually, this green is there. I'll just take that as well, mine as well, and I'll put a little bit of white paint in it. I'll take a little bit of koba blue. It can be any blue and you can see that just by adding it, it spreads and create this really nice tree like shadow. That's what we want it. I'll combine it till here. I leave some spots here and there. It goes all the way here. And there you go. And if you don't believe, so this is also casting a shadow here as well of the tree shadows, which is kind of happening here. And it will just combine it like that. It also goes inside and there you go. You can see that just by adding the shadows, it creates this really nice thing. The one thing we have to keep in mind that even in the shadow we added, there's a lot of values which happens. What I'll do is I'll take some neutral tint and I'll just add some darker value on top of this thing. Even it happens here a little bit here and there, so I can just put some shadows here and there. And you can see that now we can combine both the shadows here and there. This looks really nice and this side is a little bit blank. I'll just add a window here on this. Now you can see that we took a concept of the same thing, looking at the lighting condition and we created this shadow. There's one more thing pending. I didn't add it, but I'll just add it now. The shadow on this guy on the awning There you go. It gives a really nice shadow for us. Now I can take here and add another value at the bottom. There you go. Since I have this darker value, I can just add it on the road to show that there something is happening. Showing the bottom part of the store as well as the road. Just by adding that you can see the separation and we can also do one more thing and this is just for fun. When shard cast, I think it also comes here as well. I want to make sure to add that. But I will just soften this edge. There you go. Now you can see that we took our reference. We can add all the details of whatever we need. Again, from here, we can take it and add more details and make it really enhancing. But I'm going to stop it here because I don't want to want to overwork it and make it confused. Now you see how we take something and add a shadow and light from our reference. 10. Chapter08 StreetView Part 01: In the last chapter, we looked into how to paint a cityscape corner scene, thinking about light and shadow. You can see that I showed this painting just to show how we can simplify the light and shadows, not worrying about the details. Let's do the other one. It's going to be a complex one, and I want to show you guys so you can understand how you can simplify and think about light and shadows when you do these kind of scenes. So this is a simple scene from Toronto, like a corner Street. And I'm just blocking in and blocking in the bus stop first because I know where I can put it, and I'll just do something like that, and there's another building here, and that's it. And it kind of goes like that. Again, when you do this kind of exercise, keep it simple. Don't worry about being close or being true to your reference. So the reason you do this exercise is just to practice, you are your eye to see the light and shadows. That's the most important part. I see a shadow here, I'll just block it. And this is open seven days a week sign, which also shows a really nice cash shadow. This gives the lighting direction for us. The lighting is coming from the top top left. There's also this one thing, this building going at the top and I'll just do this here. As soon as it comes here, and there's also this low thing, which is happening here and I'll come like that. There's also another shop which is going like this. You can see that I'm blocking a really, really simple and not thinking about anything else. I'll just do this. This is a one point perspective and everything goes in here, what I will do is, um there is a sign here, like a red sign, let's add it because it's going to give a really nice element for us. I'll just add some tree, which is coming here. Let's add a couple of figures here from a reference and I'm just going to add it like that and there you go. Now you can see that we use a simple scene to block all the things. The rest will just wing it. This also really big and there's also this wires going, but we'll just ignore it. Again, keep in mind this, we are just doing this exercise to see the light and shadow, how to block light and shadows. As in the previous scene or in the last scene I showed, we always start with sky and that's what we do, and I'm going to do it here. I'll just start with the sky. This is a CA blue and storm blue would help here, maybe I'll just go a little bit in and making sure not to go the sign. I'll just bring it all the way in here like this one. It's a big building. There's also a small building. I there. You can see that in a matter of seconds, we're able to finish the sky. If you do this in any other medium, it'll takes forever. But that's why I really like watercoloor I just like you can just keep on painting really fast and there you go. Now we block the sky just by using two simple colors, koba blue and Serlim blue. Now let's do the building on this side. For this one, what I'll do is I'll use a lubrov Burn Sienna. Maybe I'll use lubraKbabu in it. Maybe I want the bronze building. This building there are a lot of building like this in Toronto, and I think this is older buildings. I'll leave some white bits for the windows. If you want to paint acids, you can leave that too and it ends here. I'll do the same thing here as well. And instantly it looks like building. Maybe I'll just go a little bit more of the pigment. Maybe I'll make the windows a little bit shorter. I'll just blend with the sky and it blends and give this detail and that's fine. There you go. Now we connected the sky to the building on the midground. Let's block the road. For the road, I'm going to use this yellow ocher. And I'll just do this. I want to make sure to have a different color for this bus stop. I'll just do this like this and there you go. Now, we also created the ground color as well. There you go. Now what I will do is once I blocked it, I will just go and add the If you see there is a lot of what is it called them? There's a lot of glass here. So whenever people get scared of painting glass, I think that's the easiest thing to do. Think about the glass is nothing, but it's reflecting the sky and the things around it. Again, I'll simplify it so don't worry about it and we will just take it here as well. This going to be a darker value. And this is why values are really important. If you understand values and lighting and shadows, you can do any painting. If you want to learn, I think I recommended early that I also have value classes. You can always go and check it out. I think I'm promoting my class a lot, but it's okay, but I want to make sure that when you paint, you have all the tools and you're not um, fighting and you know what exactly you're doing. For now, let's go to this guy. There's also a little bit of this yellow tinier. I'll add that first. Then we'll add the green line, the green color. This is where the value comes in. I know that the value, which is inside this sign is lighter and the green is darker. Let's go and do what is it called keep on forgetting the the bus stop. There's a little bit of tinge of green there. There's also a little bit of this cobalt blue. I'll just mix like that with this yellow here. It gives this warmish tone and I'll mix like this. There you go. I'll do the exact same thing here as well. I'm going to ignore the sign which is inside. But if you want, you can add something. What I'll do is I'll just put something here as a shape. There you go. Now we're just blocking the values. Again, sometimes if you're scared about this color bleeding in the air, don't worry about it, let it do watercolor does. I'm also going to add this red value, sorry, the red sign. Let's add the pole which is sitting there. For the pole, I'll use the exact same thing here. Maybe I'll take a tinge of this blue and I'll just add here and there you go. Now we add the pole and everything. There's one thing is missing is the tree. What I'll do is the tree, I'll just as a single shape and I'll just draw it and we'll come and add another value on top of it. 11. Chapter08 StreetView Part 02: Now I dry the paper and it's really nice. Now let's go and add I'm going to use sap green, and this is a sap green. I'll just put some amber in it. I want to show the warmth or else you can also add a little bit yellow or two. Or else you can also add what is called burn Sienna. It gives this warmish sap green and that's what we want it and that's what I see there and you can see something different. This also helps us to what's it called? Help us to frame our building as well as the sign. There you go. You can see that I also brought this tree a little bit up even though it's a little bit smaller there and it also going a little bit down, but it's okay. It's your painting, so you can express how you want it. I'll just let it go like this and a couple of spots like this. The leaves are going behind it. There you go. There's also this couple of shadows which are going in. Let's go and add it. And there you go, there's some shadows and maybe it will just go down. I'll use some B Sienna and just put some things there. That's it. Just by adding the libra value, it's already there. I'm not going to touch it anymore. Now what we can do is we can start adding the shadows for this one. It's going to be super dark. These are the core shadows because the light is coming from the top, this everything inside here are sitting on the core shadows. What I will do is, in order to get the core shadow really dark, I'll just add the top ft first. This sign is going like that. And I'll just do this. I make sure that this window is really tiny like that. There you go. Now you can see that we can add this darker value here. There's also some reds, but we're going to think everything as a shape, and that's the most important thing we're planning to do here. This is the bottom part of the sign, which is happening here. What I'll do is, take this neutral tint and I'll just add the bottom part of the store. What I will do is, I'll mix, the reflection what I was talking about earlier. What I'll do is I'll put some reflection here. Like that and even here, it's reflecting the sky here, there you go. Just by doing that, you can see that we able to do it. Again, this guy, the same thing. This is the bottom of the thing. We also have to increase the value for the stores as well. I'll just come like that. Now we can add the stork and what I'm going to do is I'm going to take some low ochre and I'll take maybe a little bit of this blue, and I'll just go like that. There you go. Now I can increase the value on it? It becomes dull, what I'll do is I'll put some orange to have some vibrancy and that's you can also see that the areas are popping out more. What we'll do is we'll add some different values there, a different colors, and there you go. You can see that in a matter of seconds I was able to block this area. Let's focus on what's it called the sign itself. For the sign, what I'm going to do is I'm going to take this color and this color, maybe this one, a little bit of Saphia blue and sorry, slum blue and a little bit of this green. Sorry, I don't know what my accent suddenly changed. And there you go. I'm going to take some CBA blue too. Again, if you're not getting the exact same color from the sign, and don't be harsh on yourself, it's okay. Again, tell yourself this is your exercise and you're learning the lighter shadow than anything. We also learning how to do washes to get a lighter shadow on a scene as well. But just by doing that, you can see that we are able to the values are totally different now. Now what I could do is maybe I can add those red signs too, and I will add it and it says open. Seven days and seven days a week. Again, I'm not trying to do a pretty picture and there you go. Now we create this really nice thing. I see this red somewhere, I'll just put it like this. I think there's a car there. I'll just do it like that. There's also some redier, some redier there you go. One thing is bothering this because the background, the background is going a little bit white. What I'm going to do is whatever I have here, I just mix some blue, some red, and I'll just go and add some shadows. Behind this people and making sure to leave some white bits here and there, just to add some noise here and there and that's it. There you go. But just by doing that, you can see that now the background is filled, so we don't have to worry about it. I'll do the exact same thing for our near the bus stop as well, and there you go. Now we can see that we add a lot of things there. I'll leave some eyelets for this guy. Now, let's add the shadow for the ground. For the ground, I'm seeing a lot of this warm shadow. I'm going to take some koba blue, and I'm checking the shadows how it's happening. And put some this purple there as well because I don't want a brighter shadow. Check also comes here, goes near the bus stop two and comes like this. There you go. See that just by looking at the perspective as well as, see the cast shadows. These are the cast shadows. By adding the cast shadow, you can see that things come on the front and is going over the bus stop too, but we'll add the shadows for that. Just by adding the shadow, you can see that everything comes alive. I'm also going to add the figures now. I'm going to take neutral tint again. There's one figure, she's all in black, but it's okay. One we'll do black and one she has white stuff, white top. I'll just take some white bits and I'll just apply here like that. There you go. You can see that now we can add these two figures in the shadow as well. That also gives a really nice foil for us. Now I'm going to add the shadows for the bus. For the bus, I'm going to focus a little bit more because it's really important. There's a first shadow I'm going to add. It's on the top, and there's also a shadow which is going underneath. You can also see the angle of the shadow, which is also happening here as well. I'll just add that. There you go, and it goes here at the bottom and stops here. I'll just combine this shadow with this one and I'll also combine this shadow like this. Something here at the bottom. I'll just do that right here and there you go. I also noticed that the shadows on the bus stop as a little bit of softer shadow. You know how to do softer shadows by now because we did a lot of practice. I'm trying to do the softer shadow from the top, as well as from the bottom as well, and there you go. This not reading as good yet because if you see closely, I don't know if you notice if you see close this part is casting on there. What's happening is it's going here and it's going to go inside because it's inside the frame. I'm adding that. I'm also going to add this guy as well. Now it's going inside and creating this shadow on the thing. I'll try to establish the same thing here as well, and there you go. Then you can see that now it looks like this guy is casting on top of it. Again, there's some bits here and I want to separate the top part from the bottom part. There's also this shadow which is happening inside of the bus stop. I'm just going to add that. I'm not going to add anything inside. I'll just come here and there you go. And you can see that we created the shadow casting on the sky. So now what I can do is I can also add a little bit of details inside like that. So it looks a little bit darker and there's a shadow there. There's only one thing missing now is the casting shadows for this guy, and let's add it. For the casting shadows, I'll just take a little bit of blue and a little bit of this green because this is where it's happening. I want to make sure that I get that. What I'll do is I'll take some neutral tint and I'll just go here. And you can see that I'm changing the color of the sign. But what happening is whenever something cast a shadow, it doesn't exactly have the same color. Based on the color of the object, the shadow color changes by adding that you can see how much realism you're gaining just by doing that, one thing. And I'll just there you go. You can see that right here. I'll do the same thing here as Worm, go here and make that like that, and I'll do it like that, and I'll just do something at the bottom like that. And there you go. You can see that now we can create this really nice shadow. There's also sometimes you can think. Is my shadows values are right. When I squint my eyes and I tell my students to do this every time once they almost finished adding the shadows is quint their eyes and check if their values align in the shadows, if it doesn't. I see this a little bit of a darker value close to it. I'm just trying to add that and I'll just layer it on top of it. Same thing here as well, and this board here and here. And I'll just do something like that, and there you go. I'm also going to another Docker value underneath the shops because it's write quite a bit and same thing here as well, and I'll just do something here as well, and there you go. Just by adding the docker values, you can see that things falls in place. The one thing which is happening is it become realistic as the realism takes place. That's why I said if you know value and think about everything in light and shadows and everything falls in a painting. What I'll do is there is one thing we have to do is adding this pole which is connected to year to year. And I'm just kind of connecting here. I'm also not worried about the exact details, what's there, what's there. I'm just suggesting something, it looks like what's there. If people see this painting in four and it does looks really good. There's one thing is happening with what's it called? This pole is refeting on the board, so I can add that. I'll just add a Dra val here, here and here. There you go. You can see that we took a simple scene and we created lighting shadow based on that. When I screen my eyes, it does work. There's one more thing I can add is the poles. Because the poles will look a little bit weak and there you go. Now we add the poles there. Now from here, we can also increase the value on the road to show the separation between the walkway on the street and the bus stop. You can see it there. And it exp itself. Now you can see there's a separation between the bus stop as well as this thing. These are the things you can do. Again, when you paint, start with how I started, start with lighter value. Think about lighter shadows and think about where the core shadows are, where the case shadows are, and you have to think on every individual objects, not just in one area and other areas. You have to almost think in every object. You can also see that I went and increase the value on this building just to match the things which are there. I'll start with here. But actually, you know what, let's add a bonus detail. Which bring this scene even looks pretty. Actually, you know what? I'll just do that here. I'm going to switch to maybe a thinner brush here and I'll just do it like that, and there you go. And there you go. This also takes us into the painting and creates this really nice details for thing. Actually, you know what? I'll just add one more year and one more year. Trono, they have this really nice street pools. I'm adding that as well. I think I'll stop it here and you can see that the point of this painting or this chapter is just to see the light and shadows. That's the most important thing. Is not worrying about the details, it's about simplification of the scene and thinking in the core shadows, the cast shadows. And how it affects the objects on other things in our scene too. For example, there's a case shadow in our thing and there's a core shadow below and on top of it, and there's also some eyelets. This is the eyelet areas, and it's the same thing on here and same thing on the building. You can see that just by separating each and individual objects, it's easier for us to think about lighting shadows and we can create a realistic painting. 12. Chapter09 BonusChapter: So let's do one more exercise and last chapter, we did this lighting from top down, and this is another reference. This a little bit complex. Again, I simplified it changed the composition, and I went and sketched the exact same way I showed earlier. So this one will be a little bit faster because now by now, you guys, when I go on paint, you know how to go and um simplify your scenes or thinking lighting shadows. When you see the reference for this painting, and uh you can literally see that where the shadows are really easily because there's a lot of shadows which are going this side, so we know that the lighting is coming from here. Even on the grass for this small uh, I don't know what is the small blocks. And those shows that the lighting is from here as well. It was, in the evening, I believe. And this is in Toronto and you can see the SN Tower. I'm going to ignore it because this one I'm going to show the shadows um, of this guys and this guys, and that's it. There's also a building next to it behind it. I'll just do something like here. You can see that um this is like a negative painting. What I mean by that is, um, you can see that I left some white bits, for the and sometimes you have to think about the values. Again, I talk about values a lot, even though it's lighting in a shadow class and it goes in conjunction with together. Because when you think about values, if you see a lot of artists, even all the famous dist, they always talk about value being the important thing than anything else. I didn't believe it when I first started, but later I realized it is a true part, and now I'm just going to the roof exact same what we did on the other chapter as well. I'll just go here. Maybe I'll put a little bit of this solium blue so it doesn't look super warm. I'll just bring it like this and it goes here and I'll combine it like that, and it also goes at the top. If it bleeds, it's fine. This is going to be on the shadow side, so I'm not worried about it that much. Maybe I can go a little bit um Maybe. There you go. Maybe warmth in it. For the color for the house itself and it's this warmish reddish stone. This is a brick color which exist in almost all the architectures in Toronto and I'll just combine it like this. I should have left some white bits here, but I didn't do it. But it's okay. We won't tell anyone. And this side it's going to be on the shadow side. I'm just going to combine it like this and I'll just bring it here and I'll also bring it here as well. And I'll go here and make this like that and like that. There you go. You can see that we can create what is it called the brick layer as well. Now what I will do I will add some the one thing I forget is the top part here as well, and I should have added the value for it, but I forget it. I'll just go and add it like that. It's also turning as well. I'm also keeping it really loose, not painting it really perfection. That's thing, a lot of beginners do is they want everything to look perfect. But again, the one thing I learned from painting is it doesn't have to be perfect. You have to let loose and paint and enjoy the process of it. You can see that I can add, uh, the brick colors. The windows all those frames have this. I'll just go and add it really quick. I'll do the same thing here, same thing at the top as well, and there you go. Even in the front entrance, it has it. I'll just go and add it like that. Even the frames here. I'll just add it. You can see that we created the house by itself. Now let's add what's it called the fence, the same thing here, I'll just combine it and it goes in the shadow side. This side, I'm not worried about it. I'll make sure to preserve these pillars. Like that and you can see that we can edit it. Now I'll add the rod. For the road, I'll just use some white and maybe I'll add some solar blue and have some tinge like that. I'll do the same thing here as well. There's also this a little bit of green there, and we'll add the green because I want the green it looks really nice in our painting. It's going to be a little bit of sap green, and there you go. I'll just combine it like that. There you go. I think we created everything. Now what I'm going to do is now I'm going to go on at shadow for the trees. This season, if you see the reference, this I took the picture in the fall whenever I go out, I look for pictures of a really good lighting condition. If I see something really interesting, I'll use it and I'll just put something here. And I'll just goes here. If you try to go on paint as it is in the reference, it will take you forever. It's not that you can't do it, but it will take some time to understand all the veins and everything. Again, the easiest way to use just to simplify the painting or the trees, especially the trees, we have to even simplify it even more. I think it's a little bit dark at the bottom. There's also a little bit of this warmth here and there and I'll add that as well. I think I went to red and it have to be subtle, but what I'll do is I'll just take it and put it everywhere like that. Yeah. I also use maybe a thinner brush. I'll try to create some veins like this. It's going everywhere, even. I'm just doing that without adding the shadows and it's not recommended, but still we won't tell anyone. There's also this trees behind it. Again, I'll just keep it really simple like a shape and that's it. I think I'm going to draw it, then we can add the shadow pot. Now I write it, it's quite a bit. Now let's start adding the shadows. I'll start from the top pot and bring it all the way down. For the top pot, and I'll use some CFA maybe some CFA and a little bit of yellower and this should work. I'm checking the shadow, which goes behind it and it goes like that. And there's a tree, and I'll just ignore it. There you go. Now we add the first shadow and this guy is actually, you know what? I'll just add another shadow here and another one here and another one like that. There you go. This part is done. I'm not going to touch it. Now let's go to the brick part and the same thing here. There's a little bit of shadow for the thing for the windows, and it goes all the way here and it take a tone here and it goes like that. This is why I was saying this going to be everything on the shadow side. So and this is the exercise we did on the cube or any cubicle object. This is going to be all on the shadow side. I'll also put some shadows for here as well, thinking that there's house there. This also frames our tree. This guy here is going to catch a shadow till here. I'll just go here. And it kind of goes like that. This is the door pot, and this is the shadow part, which is on the top of it. And there you go. Actually, you know what? I'll just extend it like that. I add the shadow for this guy and this guy here, this is also casting a shadow here like that. There's also the stairs, which is casting the shadow there. I slope. If you see closely on the reference, you can see that. This guy is also casting shadows on the windows, and I'll just add like that. The same thing here for this windows too. And there you go. Just by adding it, you can see that we created the shadows really fast on everything. And one thing now I can do is the windows are looking a little bit flat. So what I could do is I'll take this blue, maybe these guys and put some colors here. Making sure leave some eyelids. I'm using white paper as my eyelds because it's really nice sometimes to use it. There you go. Even this one, I'll just fill it and this one I won't fill it like that. This side is everything is in the shadow. This is what I said that I should have not added what is it called? The tree branches yet, but it's fine. I'll work around it. And this is on the shadow side too, and this also helps the tree as well. So I'll go here. This guy, I think should be in the shadow too, like that. There you go. Now we can add the shadows for the house and everything. The one thing I have to add for the house is the shadows. There you go. Add the shadows for these guys. Again, I'm combining as a one single shape. There's the shadow here. These are the shadows. I'll connect to the grass as well, and there you maybe I'll just put something here like that. And there's also this bush I left, and I'll add it really quickly. I frames what is it called the fences for us? There you go. The fences on the other side, this guy everything will be in the shadow because this is the shadow side. This is a core shadow and it'll be casting a shadow on the other side. What I'll do is I can just do this. There you go. You can see that we created the shadows within in it. And now, maybe I'll add some detail for this guy. And there you go. So now, You can add the details for it. Now I add some details for what is it called for the trees. For the trees, the same thing. Keeping a little bit simple, not work it. There you go. And making sure to have some i on the shadows too and making that up and you can see that it worked pretty nice in a way. Again, I'm not going to be that neat with the shadows here. We also did some cylindrical objects. Usually the form turns and that's what I'm trying to do here. There are some in the shadow and some are not. There you go. Now I'm going to take some clean water and soften this like this. I get the cylindrical shape for the tree. Even here. If I do that, you can see that it gives a cylindrical shape and some soft shadows for the tree as well. This is where we can use the small brush to advantage. And there you go. I think I'm not going to add anything else. Maybe I'll take this exact same thing, maybe create some shadows here and there on this side for the trees. It's kind of casting the shadow on this side. And there you go. You can see that we can add the shadows on the trees as well. Now let's add the case shadows on the febron all the way to the background as well. I'll take some Sl in blue. And let's add it. And it goes like that. And the same thing here as well. Just by adding that you can see that the shadows are happening in our scene. There's also this building all there at the back. I'll just add a couple of the things here. And maybe I'll there you go. Just by adding that you can see that I'll just have a thicker tree here. Now what I'll do is I'll take this small brush, break it. Tree shadows are happening here as well. Same thing here, and I'll go here and there you go. There's one shadow I added and another shadow I'm going to add is this guy. There you. There's also shadow here like that. What I'm going to do is there's also a lot of shadows. There's one shadow which is peking all the way here. I think this is a tree shadow, there's a lot of trees behind this, so I'm just going to make some shadows up and connect it to the other side. There you go. If you don't believe and there's thing which is happening here, the building, which goes here. I'll just soften it like this, there you go. Now you can see that we took a complex scene, and we did the exact same thing on the other stuff. The other thing is matching the value. The value is a little bit, lighter here. As soon as I add it, you can see that um this is looking three dimensional already. I can also add a couple of windows here. One, one year and one year. To have the variations on the windows, I'm just going to have some variations here and here. Actually, this two darker and this one is a little bit lighter. Maybe this one is a little bit darker. There you go. Even this one, I can add some details here and here. I think I'll just call. Maybe I'll add this detail here. The shadow speaking through on this guy, and it's a lighter. Again, you can see that we did the exact same thing from the previous cityscape we did. Again, if you understand the concept of the form principle, and you can also apply on any painting you do. This also apples on landscapes too, and I'm going to have tutorial on landscape as well. This is how it works. You can see that everything I started the same way I did on other scenes. Now it's your turn. Take my reference or you can pick your own reference too. You don't have to stick to my reference. You can pick whatever reference you want. And slowly build up from learning the form principle using the basic primitives and slowly build up to this kind of scenes and this kind of objects. Because once you understand the concept of forms ping out certain primitives and everything falls in the place. 13. Outro: Wrath. You have learned how to see and paint light and shadows and how to use a farm principle to make your watercolor come alive. From simple primitives to complexity scapes, you now have a solid foundation to keep experimenting and improving your art. Keep practicing and trust your observations and don't be afraid to play with light and shadow in every painting you do. I can't wait to see what you create and make sure to share your projects in the project section. I want to celebrate your progress and I also want to give some critics and feedback. Thanks for joining me in this class and happy painting.