Atmospheric Watercolors: Wet-in-wet Landscapes

1. Introduction: Welcome to a guide to atmospheric watercolors, wet in wet landscapes. In this class, we'll be painting two simplified landscapes using a variety of wet and wet techniques. Creating a soft and hazy look with a sense of depth can be tricky when you're learning watercolors. Painting when wet is often associated with a loss of control. Without the right knowledge, you can create a mess. But don't worry, I'm going to show you the importance of timing when painting, when wet. I'll show you how to gain control and layer effectively to create soft and atmospheric, since it's easier than you think. Wet and wet techniques bring out the natural strengths of watercolor and is essential for your watercolor journey. Planning is crucial in any painting. I'll show you how to simplify shapes and sketching large ones, such as sky, buildings, trees, grass, and land. Getting those large components inaccurately beforehand is essential for your painting to make sense. So join me in this class. I'm looking forward to showing you how to make wet-in-wet watercolor work to your advantage. 2. Materials Required: Before we get started with this class, I want to talk to you a bit about materials to help prepare you and standing what you need. So there are a couple of paintings including this class. And we'll firstly talk a bit about the paints. Now, a lot of the colors that I use in here are quite similar. You notice that don't actually use too many colors in the demonstrations. You don't need a whole lot of them. Looks like there's a lot here, but I only point out the ones that we'll be using now for the yellows. And he's just a lot of the warmer colors that you see, the rooftops of the buildings. I've got some of this color here, which is yellow ocher, also have a little bit of this color, which is Hansa Yellow. Hansa yellow is a nice vibrant yellow than other permanent yellow or even a cadmium yellow work very well because they're quite saturated. So I use those sometimes I've seen one of the paintings where we've got the house all the way in the background and this nice sort of a streak of light and the ground, I tend to exaggerate and make sure that that area is nice and vibrant, nice and bright. So using a little bit more of that Hansa yellow in there and also keeping that very light helps. So those are the main yellows that I'm using in the field. You can see it's mainly just a lot of the yellow ocher. I didn't want to keep it too vibrant in there for the rooftop, sometimes I also use a bit of this color here, which also use a bit of burnt sienna here for some of the rooftops and just dial it down and watered it down quite a lot. Now, a lot of the darker colors in here, basically just a combination of purple and green. The green that I'm using is just a dark green. This is a green called undersea green, but you can use other ones. There's hookers green or olive green. You can even mix your own green. Mixing a bit of ultramarine with some yellow that makes a nice dark green as well if you add more blue in there. So really that's not necessarily have your own. I just have my own for the convenience sake of it. Purple, again, another convenience color, and I do have my own version of purple, but makes sure if you don't have that, you can always mix it. So again, using your ultramarine blue and mixing it with a little bit of red, permanent red carmine or something like that works quite well to create a nice purple as well. So find that the purple really create some nice shadow effects. You use a little bit of this color here, which is cerulean blue as well. It's a great sky color and allows you to get in a really nice and light mix. So it's not like very dark such as this one here, the ultramarine blue, even if you use a straight from the tube, still very light, and that's what we want the sky to be as light as possible. So I think that's really about it. Apart from some of these to last colors, I wanted to mention bit of this color here, which is neutral tint. The dark color, which is basically a mixture of all three colors, your three primary colors, yellow, blue, and red. And it basically is a gray color. And I get this in tube, It's just easier so I don't have to premix it. Also have a little bit of black here. Lamp black or Lunar Black works very well. You can use that to darken and adding a little bit of shadow and dark areas to your final painting. Over here, I've got a little bit of white gouache. This is fantastic right at the end when you're adding in small highlights or highlights on the lighter bits of grass. Things like small flowers, and the highlights on the shoulders of the figures as well. Really important, if you want to add in that little sparkle right at the end. Now for about paying someone to talk a bit about brushes, as you can see here, I'm using a lot of these mop brushes, three of them, and use them depending on what I'm painting. Sometimes if I'm painting a large area of sky or ground, I'll use this big one here, picks up a lot of paint. All of them have these belly like shapes which stores a lot of water so you don't have to keep on reloading that brush and allows you to get in large area with just a few brushstrokes. And that's what you want. You don't want to be fiddling around the area going backwards and forwards. You want that a wash to be nice and smooth and blend without you touching the paper too much. And they also have a nice tip on the end that allow you to cut around things. I've got a little number eight round brush and a one quarter flat brush. So these are great for detailing, getting in figures, shadows underneath the roof of the buildings, small bits and pieces that these brushes are too large to accomplish. Final thing I would want to mention is just the paper I'm using and I use this stuff here, which is 100% cotton watercolor paper, and it comes in this medium texture, medium or rough texture works well. Recommend that because the paper takes longer to dry when there's a bit of texture on there, you need that when you're painting wet into wet. Because you want to paint wet into wet at different stages. Sometimes when the paper is completely wet, sometimes when it's slightly wet, sometimes when it's almost dry. So at different stages when you're adding in paint, you get different effects. So you've really maximize your learning if you managed to get some of this paper. If you don't have that, just make sure you use some watercolor paper with texture in it. 3. House Scene - Drawing: We are going to make a start on the sketch for this. And sketches always so important to make sure that you've got in your foundational elements, made any decisions on things that you want to change in the reference photo. So let's go ahead and get started. The scene, as you can see, is really, really sunlit and we've got the sun hitting her mostly rooftop of the buildings and a lot of these trees on the sides bit in the background as well. But you've got this large area of shadow in the front. And I'm thinking whether I want actually make that shadow a bit smaller and add in some figures here as well on the side. But first things first, we want to divide the landscape up into simple elements. And the, probably the easiest thing to do is divide the sky and the land, the ground area here in the foreground. So if we look at just underneath the houses, there is a kind of a slope, bit of a decline. It's coming down here. When would walk up, he'll going that way. So I'm going to mark and a brief area here. And just over here, it looks like it's going up a touch more than a quarter of the way up on this side of the page. You want to make sure that you have enough room left so that you can get in the house and bits and pieces. So I'm going in and just putting in a bit of this guiding line. Drawing a bit darker than I would usually just show you the elements and the divisions it easily, easily. Here's a little of that brightness, a touch. And I'm going to work on we're going to actually work on the House's first. So let's work in them because there's not really much we can do here in the ground. I think a lot of this stuff we'll get in later in watercolors. But we know that there's a little section of the house here. It's a rectangle. Look at how you can divide bits and pieces up into simple shapes. This is simple shape in almost every thing you draw. Okay, so that's the sort of the house on the right-hand side. Of course there is a rooftop as well. I've not put in put that in there, just put that side of it in. I think that could be maybe the side of the little sod house element of it there. I'm here and I'm just drawing them maybe a little bit larger than they actually are. This is just a stylistic thing. We know that other house in the background comes up over the top of this one and cuts through it around about a third of the way through that house. So I bet here, something like that. Okay. Let's bring this down. Okay, and it's probably another length of this house. We look at here, the length of that around here, the bottom of this house. You're using using other shapes to guide how the relative sizes of everything. This is just marking out a bit of this grass here, that yellowy grass and the rooftop as well. We're just going to get this in. So it's like this, a couple of dots and sometimes draw like this and then connect up the dots. Okay, there we go. That's part of the roof. It's actually a bit more slanted like this. And the right-hand side kinda comes up around the same height as well there. And of course, comes down in the back, a touch here. And comes directly down like this. We have it. And we will just start getting the rooftop in like that. Maybe have it rooftop. And Destic. And I think I might actually increase this grass a little bit, make it a bit more. You can see here this is like Windows as a window here There's a kind of a white frame or something like that. Is another window here just above it. Smaller one off the top section like this. I'll just draw the bottom of that roof as well in here. Indication that you've got this little window here. Of course a window here. Now the one here there. And then you've got this one here. Side part of the building. Thing I like about this reference is that it's fairly simple. In terms of the objects in here. But if you look closely, you've actually got so much detail in the grass and in the natural surroundings if this little dirt road here at the front as well. So we've got certainly got some work to do there. Let me just raise the land up a little bit. What the task is too large. It comes down here, hits the ground, this side part of the house. And not only that, there seems to be a little balcony or something here from the sides, but it is obscured by the trees and what have you, but I can just indicate Something like that. Their rooftop. Not only that you've got another window here on the side and then another one. Another window shaped object here, door or something there. Okay. Good day notice on the house has all these kinds of trees and things going on. I don't think I'm going to add the mean now I will add some of them in, perhaps lighter. Looking at this kind of a couple of doors here as well. I wonder if we want to actually get the mean a bit darker as well, kinda similar to that one. Just trying to mark out the bottom of that roof a little bit better. You also do it later, but you can see the directions of the tile is going across the rooftops. And that helps to get a bit of that in. Later on. We've got all this grass and stuff. You can see it's come up in the foreground, but then on the side we've got extra trees and things. And this is kinda like the, the easy bit rarely because there's not much that we need to do here. It's just marking out the elements that just a little, almost a little silhouette of the trees generally where they are. You can see even behind the house, there's like these little trees here and there. Funny enough, there's like a little chimney here that I just missed out. So I can indicate that here. The little chimney or something like that, they're on top of the house is even something up here. I don't know what that is. Another structure. These little bits of tree and stuff will be handy later. They help you to create extra contrast around the house so as to bring out more of that light there as well. You can see it here as well, even on the size of that building and even behind this one there is like a little bush and then it just becomes all yellowy there. And then you've got the bushes and things, trees off in the background. The one thing I thought I might exaggerate a touches these mountains in the background. And the reason for that is that I just want to get more of a contrast between the House and the background. And if I make the, the, the mountains just come out a little bit on top like this. I think that will help to create additional contrast. And you can see the kind of go behind the trees. So just as again, a stylistic compositional choice and why a sketches so important because you are making these decisions now and you're not waiting until later. You've got a plan so that it's more than likely works out. Because if you made this decision, all of a sudden when you're using paints, it could be an issue there because you are just unprepared because I'm thinking of how to plan it and what colors I'm going to use, that kind of thing. I think that looks quite decent here, this little bits and pieces, I also want to perhaps tell a little story. I'm going to add a figure. Perhaps here, the back of the hair or something like that. And have this figure walking into the scene, That's the head and this is the neck. Let's maybe getting some shoulders. Could be someone just walking with a backpack. Some sort here. Not too detailed, but just enough to perhaps getting indication of what's going on. A little little backpack like that. Here. The arms maybe just coming out from the back like that. Okay. Legs walking into the scene here. Okay. That's a figure. I can get another figure here, maybe a little bit closer in like this, walking, maybe in the same direction. I've not made that person looked. There were more walking towards the right, but they are still walking towards the right. This one on the front, there can be just a little bit more closer to the front then this one here in the back. I might just simplify the arms of touch that sort that out later in the reference when we're painting. Okay, that perhaps we could have a few people here. I didn't know, that's sort of think about it. Personally. Couple of people here waiting, doing something or another. That they're all walking here for some reason. Okay. I'm kind of weird to put in too many figures as well. Take away from the scene, but I do like the sense of where it leads you in a bit as well. You can do it like this as well. It can even get another figure say here, just looking like they're walking forwards, more like that. Wearing some kind of jacket or whatever amount stretch there. Hey, you've got another figure. Shadows running to that left-hand side. I'm just trying to plan this out a bit. We've got, of course, this shadow here on the ground. And I did say I wanted to change it up a little bit. So I will put in the general indication of where I want it to be. And of course there's some more in the back, but I think this is a good enough sketch to go ahead and get started. 4. House Scene - Light: Okay, let's get started with this painting. And firstly, I'm going to pick up a couple of mop brushes, or three different mop brushes. They come in different sizes. And I'm going to be using my brush and I'm gonna be using them to paint the majority of what we've got in here in terms of the large washes, large washes of color, and use them to cut around. They've got these nice tips on them that allow me to cut around bits and pieces. So let's go ahead. Now. Now I'm gonna go pick up all the warm colors first. And I always like to pick up the warm colors because they are often the ones that if you're not careful, tend to turn to mud. So I'm gonna pick up a bit of this yellow hansa yellow. And I'm also going to mix in a touch of yellow, ocher. Lot of water, lots and lots of water. 90% water, 20%, 10% paint. So I'm just making a nice warm color. And I'm going to keep adding different types of yellows in here later anyway, but I just want to get in a lot of this stuff so I don't have to keep going back and remixing later. So a lot of this water, I'm just picking up a lot of yellow. So let's try this out over here first, this nice yellowy Bush on the right-hand side. I'm going to just put in a touch of that. Okay. Like this. And now one of the good things about this scene is that it's so loose in terms of all the little shapes and everything. So you have a lot of artistic freedom to play around and cut around the rooftops from now. And you notice here e.g. is just like this little element of these these yellow which you call it shrubs. Just interacting with the building in the background like this here. Okay. Reload your brush and continue on. And the goal here is to join this all up into one nice, beautiful soft wash. Continue on to the left-hand side. I've got a lot of this paint available and there are greens in here, mind you, but we can drop those greens in after. Just want to make sure that we've got enough of these yellows in first. Now the thing is that the buildings haven't under color of this yellowy, white color. I've got some buff titanium, which is like a really subdued so much like a cream color. So I'm going to drop a bit of that in here for the buildings. Okay. Just to get some coloring there, It's a milky color. Blend that downwards here. Might add in a little bit more vibrancy on the top of this building. The rooftops like this. Just a little bit of vibrancy there. Let's put a bit more vibrancy on top of this rooftop as well, and that will draw a bit more attention to those areas. Hopefully. Save that extra vibrancy up to there. Okay. Little bit more. I've gone too dark with that yellow there, but we should be okay. Even on the side of that building there. So Brian, that's really the brightest part. I just want to lift off some extra paint off a bit of extra paint there and pick up some more brighter yellow. Let's drop that in. That nice and warm and vibrant to indicate extra highlight on that section. Okay, Good. Little bit more in the background here. Down the side of this house again, I'm going to pick up some more, this creamy color. Drop that in here, trying to get it all mixing together nicely. Here in the background. Yeah, look, it's just again, more yellowy sort of colors, but at the same time we've got green in there too. So I want to get in a bit of that green, but we have to wait into lighter to actually cut around the buildings. But what I can do in the meanwhile is just dropping a little tiny bit of green to get in some, some of that color in there. Some kind of wet in wet effects because having some wet and wet effects just keeps things looking interesting. And mimics that softness of the trees. When you wait for everything to dry, you get more of a hard edge and sometimes that can just look a bit harsh if you're not careful. Bit more vibrancy in here. Here, maybe somewhere in the foreground in here as well. Extra bits and pieces like that. Okay? Um, as you move downwards, you're finding that you get closer to the shadow shape. And the good thing is that the shadow shape is actually is actually sharp. So we don't need to worry about doing any of that shadow wet into wet. So I will however, color the whole thing in yellow, just different shades of yellow. I've got a bit of grayish color here as well. Or I can just drop in. It's just something different to put in there so that it's not all completely completely yellow. Like that. Area. Get a bit of splatter effect, or just flick some paint in there like that. Better. Flick a bit in there to create some interest. I'm just using whatever dark paint that I have leftover on the palette. There are some greens and blues purples mixed in there. Little bits and pieces. I wouldn't really do it for that house. Up in the back. More. Just flick that using another brush to kind of hold it while you flick some paint into that area. Okay. Good. Look at how everything's running. I'm gonna go pick up a little bit of additional green just to add in as well, I've got some undersea green which is like a granulating green. Thought it would be good to just add in a touch of it here while the paint is wet. I'm in this section just a little bit there and hopefully it will blend downwards as well. I don't want it to go too far though, not into that house. So I've gotta be careful. Be careful with that. Lift off. Some paint as well here. Like this. If you feel like you've gone to a board, I always reach for a tissue and do something like this. Helps to just get rid of some of that paint. A little bit here. I'm good. Okay. If this bit a little slight dry, dried that so that I can do a bit of cutting around. Just going to make things make life a bit easier for me. I'm using a small round brush now, just a bit of green and see if I can get me a bit of contrast here. Darker. This is just a bit of green, tiny bit of undersea green groups. Some of that. How's it there? Okay, here we go. The trick here is to just the bit of cutting around the yellow side of that house. Like this small round brush as well. It makes a big difference. On top of this house as well. You notice there's a little bit of this tree off in the distance. Getting a bit of that helps to cut around the building. Another bit here, for instance, there. I'm mixing in there. And further down perhaps like here as well. Also, what I wanna do is just make sure that I've got in this background kind of bluish tinge for the mountains. Some ultramarine, tiny bit of ultramarine drop that in there and see how that looks. It's really more ultramarine mixed with the touch of green. And I'm just cutting around those shapes here for the trees in the foreground. Okay, a little bit there. I can soften that edge of touch as well. That help to push these, push this all the way into the distance. But kind of keep it cool as well so that it's not completely green. More of a bluish tinge to it. Okay. Here. Just gonna do it again. To get in this house, just cut around the house like these. You only have to do this once. But you have to do it. Right? Okay. Make some of it onto that tree. Bring this down. Distance there. Okay. Good. Something up there. Now, now for the left-hand side, just to finish this off a bit. Same thing goes like this. This tree here needs to be blended a little bit further. But what I'll do is just get in the sky wash, going to be using cerulean blue, lot of it. But light wash really with a lot of water. Ten per cent paints. Most of it's just most of it's just water, as you can see. Start off on the top. Make it darker up the top. I like this. I might drop in a bit of extra blew up the top bit of ultramarine as well. But work my way down the page. Sky needs to be really light. Same consistency in terms of tone as the yellows further down. You don't want it to be too overwhelming. You just want it to be there. That's it. And notice I'm just letting it blend a bit into the mountains as well. I'm not just might blend upwards or what have you seen? A little bit of softness does help actually at times because it helps to, helps to just push back those mountains so there's not such a hard edge. Okay, so that's looking pretty good. I'm just going to get a bit of blue, a darker blue up the top to drop that in. Normally at the top of the sky, it just looks a little bit darker because it's closer to us. So while the paint is still wet, this is the type of thing you can do. More. It's looking good. All right, So what I'm gonna do is give this a quick dry off and then go through and get in this final shadows and darker areas of the trees and stuff like that. 5. House Scene - Shadows: One thing that I always carry around with me is a little spray bottle like this. And it helps so much because when you're working on a completely dry sheet of paper after you've done your first wash. Sometimes you still want to get in those win-win effects. And so this is a way that allows you to do still work wet into wet and basically not wet the entire sheet of paper. So with that said, I'm going to do a couple of things. I'm going to wet some areas of the paper. So say like here I might just have, just spray there here. Now, why am I doing this? It's basically basically so I can get in some inconsistencies so that it's not completely not completely dry. But we get in a little bit of soft softness in there as well. Okay. So let's go ahead and I will pick up a couple of brushes. I've got a flat brush, small flat brush, like an angled flat brush like that. I've also got a fan brush, this one here. And of course, The usual mop brushes. But I will start with this brush first, the one flat brush. And I'm going to mix in basically a bit of green and a bit of purple together. And I'm looking at some elements of this painting and trying to find the darkest parts that I want to portray. So I'm using purple in here and I'm going to go pick up quite a dark mix of it's mostly about 60% paint, 40% water. There. I'm just getting in the edge of that building, reinforcing that. Okay? And we also have some trees and stuff in here as well. We can just imply the two bits like this. Going around the back end of this rooftop here we can just cut around like this. Fairly dark as you can see. Another bit here. The important thing is to leave some of that previous color there so that you've got some variations in color. Tones. Just makes it look interesting. But you do notice here at the bottom of some of these trees that there are really dark, dark elements like this. Unfortunately a lot of that grass has disappeared, but i'll I'll be able to get some of it back in, in just a moment with some gouache, bit more green here. Extra green. Soften off some of these edges. A little bit here for the top of this house to just getting a little tree shape like that here, just going behind that. They're redo this little edge as well. That looks a bit sharper this way. Okay, Good. Coming across the top of that house again. Let's have a look here now. We've got some we've got all this light coming from the left-hand side of this scene, remember? So I want to make sure I've got that in. But at the same time we also need to get in this large shadow shape. So a wool keep trying to work from right to left. I'm going to pick up same the same kind of purplish color. I do have some brown and a little bit of little bit of black and brown mixed in there as well because we do have a shadow. If you see that just sent it crosses over and comes across the ground here. Okay? Just getting an idea and try to get that even one brush stroke. Then as we, as we move forward is actually one that just goes all the way through here, cuts across and goes off to the right, like that. Okay. For the house, I'm going to just use a slightly darker tones, just a bit of purply mix really. And I'm gonna go in there and just color it in where the shadows are. Now, basically you've got the light coming in from the right-hand side. It's not too dark. It's actually a fair bit of light still left reflected light that's left on this side of the building. So you don't want to get rid of all the light. But it does need to be significantly darker. And to create some contrast as well. This is kinda tricky because there's a lot of cutting around. It's a lot of leaving in the yellows. And you have to be careful not to go over the top of the rooftops side of the house you on the right. So I'm using that tiny little edge of the brush. Just paint this edge like that. Looking good. I'm going to bring this all the way down, further down. Okay. Same goes for this side. And a bit of extra color. Yeah. This is pretty dark, but that's okay. Make do. Just cover that down. Little balcony like shaped like in there. Further down there's a figure or a bunch of figures here in the front. So I'm just cutting around and a little. Okay. But notice that it's all one big shadow shape that I'm getting in. You can even put in little bits of detail for the the bottom of the rooftops, like you notice here, e.g. there might be a little bit of color in there, a bit here. Stuff like that. Little indications that you can just work on quickly. This the front side of this building also, it's kind of darkens, so we'll get in a little bit of darkness in here. But this has a bit more like this building has a bit more light than that one. So I'm using a lighter wash of color. Still trying to preserve as much of this light on the buildings as I can. Just kinda like one wash running through in the background. We've got kind of like a little trees and stuff which were working on before. And I'm going to just redo that and get some extra bits of color in there. Here, cutting around the house again, the rooftop. Just greens dropped in here just to be the green. We get a bit onto the side of the house. It's no big deal. Okay. Yeah. A lot of this stuff is just bits of yellow mixed into the green, sharper bits of yellow. Can use that spray bottle again, if I feel like I'm a bit of softening up would be helpful, which I do believe it is. Write down a touch. It's continuing here. Here. Here. A bit more into the bottom of the house like this. To get it to spread downwards a bit more. Green. Here. I'm going to just, I'm trying to just imply this, these trees in a bit more of a looser style and create extra softness in this, which is why I was using all that that spray bottle before. You noticing here there are just some bits of yellow leave those, leave them in. Leave them in the end. I just use a tiny bit of this color. If you get areas, like I said, that there are a bit messy, just mop them up, pick up the tissue and you can mop up areas like that. That bit of extra yellow would be good. I've got some yellow ocher. And if I could just drop in some extra. Yellowy tones in here. Use something like these. The nice spots just helped to blend. Do its thing. Maybe he used well. Okay. Good. Mixing about, um, I think a little yellow and white gouache. If I just drop that in here, I'll just be able to get in an indication of these little shrubs and things here. I could just bring back a touch of it. Still wet in wet, but something like that as well. You can also even do it here. We can bits of paint that, drop that in. Um, I'm gonna get in this shadow. Again, like these, just redo it. What I love doing is just creating a sense of continuity in the painting so that it's everything kinda just joins together. Look, this is the foreground shadow. Bigger brush is purple. Here. Mostly purple. And just trying to get in nice shadow shape in the foreground. Neutral tint. Good. Bring that down to the front. The purple helps is it's a complimentary color to the yellow as well. Some shadows can be broken up a bit more than other bits. Okay? Here we go. Nice. Large shadow shape. Of course. The point here is to create extra variation. And I love using things like these little, little fan brush to create these pizza variations so we can pick up e.g. a bit of a bit of brown. I'm going to be the brown that I can just drop in here. Dull it down with some neutral tint. And maybe some blue individual that here. Some of that like little little shrubs and things in here. Hard to see them exactly, but there are little shrubs here. The ground. You can just pick up a few here and there and use that as something. Especially near the foreground. I find just adding a bit more bits and pieces in the foreground gives it an extra sense of depth. Painting. I'm good. Where is that? Flat brush? Pick up that little flat brush again. Continue on on the path here as well. Just by adding in some bits of grass or what have you, just using some some of this yellow that I found and the fan brush first actually. So just go in there and look at that just again, a few of these little bits and pieces in here. They could just be grass, really. Some textures. We need extra little details and places like that. And I'm trying to join up. If I can the background attach the elements of the foreground. Okay, but have some sharp shadows here on the left-hand side. But if I can join this nicely and still have some sharpness of the shadows, I think that's gonna be the ultimate ultimate result. Spread the paint around, work so well, when you do this, all went to wet because the colors run into each other. You can see and they create these amazing little blends and things that you just Can't even do even if you tried. Looking good. I'm just do some flicking in here as well. Little bit darker color. Just want some speckles of paint. In this section and interest. Even really dark. Here you can just see, pick out a few little bits there. You can draw out quickly. Do one more last wash over the top of this to bring everything out and add in the details. But looking, I'm liking the way this is. Looking right now. Hips, softening. These edges up here. Is tree might help strategically. I've used a lot of purple in here to create a bit of extra pop in the yellow. We have it next to some of that purple, I think. Bring it out a bit more. Okay. Good. Alright, let's give this a dry off. Okay. It's still not completely dry, but I've dried it off most of it and I've done that so that I can hopefully get in some little slight wet effects in some areas. But what I will do firstly, is actually just pick up a small round brush. And the idea here is just to get into the details of bits and pieces of a couple smaller round brushes. Actually, I'm just deciding which ones I think I'll use this one. I'm gonna be using a bit of darker color, a bit of neutral tint or just a bit of black if you've got it. And I'm going to pick out the areas that I think would be nice with some extra details. So e.g. here underneath this rooftop, notice there is actually a darkened area there. So this will really bring out in this area of that roof. For one. You've even got some dry brush, a little bit of dry brush, dark color like this underneath the roof top here. That you've also got these windows as well. So I'll just pick up some color, a bit of black, dry off that brush and paint that on like this. Just a little couple of windows. There's another window here. I can imply as well. I don't want to overdo it as well, so I'm just trying to to get in just as literal as I can to make sure to imply that there is a window there, but without overstating it, that there's a little window here as well. Some of it's already wet from the previous layer and so it's not doing all that much anyway. You see here is spreading a touch over here. You've got more darkness showing through here. I'm just going to get these doors in quickly like that. Okay. All you're doing is just bringing out darkest bits of your your painting. Contrasts. Chimney maybe darkness underneath it there. Knowing the background as well. You might have a bit of extra darkness here. Just to bring out some of the details of the buildings. Window up here. Maybe that maybe there's like a shadow behind this building there. I know it's not really there, but something like to show that maybe there's a shadow cast. Using a fan brushes world, just add an extra details. Some smaller little shrubs and things running through here. Okay? If I can just pick up bit of white gouache, yellow mixed together. This okay. Yeah, he had a bit of that yellow, tiny bit more bits and pieces. I'm going to put in the figures now. Just with a round brush. Get into the legs like here. There's one leg like that. And one of the big things is having that light source coming from the left. From the right, Sorry, You can leave parts of the figure exposed in the light like that. Okay. Right hand side of that figure exposed to the light. For this one as well. Joining shadow at the base of the figure, super important. You got another one here as well. That some figures here in the background that we were playing around with earlier. We do have one to the left here, so I can just, can just work on this one a bit. Get that shadow running to the left-hand side there. Okay. Figures maybe standing close to each other over the distance. A few little v looking shapes in the sky. I find this also helps to just join up the drawing up the background a bit with the rest of the painting. Okay. Just get this little spray again. Like this. You just want to make some of these colors run downwards, hopefully, some of these yellows. Okay, so I'm going to run a bit further down. I'll just add a few little bits and pieces on the rooftop like them, middle tile patterns is running across the roof like this. 6. Field Scene - Drawing: Alright, so we've got this fantastic sent here and I've reduced this down a little bit taken, actually a small snippet of the entire scene because I think it looks better cropped and without the sky. And I really like the story of this fan of having lady and her two children a few figures even just walking through this kind of trail back almost to their house and maybe they're visiting somewhere who knows? But I quite like it and I'm going to show you how to simplify everything down to the basics. And I get in a nice little representation of this scene. So firstly, what I'm gonna do is we're going to just break up the scene a little bit. So we've got the bottom of the houses. So around about here, I'm just putting in a general line where I want the houses to be all the way at the back. Okay. So roughly here, it's mark out the center of the page about here it is just above the just above the center. Okay. So we've got all the way up there, okay? And then of course we have this kind of path that goes inwards. You can see it and this is gonna be tricky to do. We're going to have to do a lot of this wet into wet and I think it's gonna look a lot better that way too. So you can see the path ends near the center of the page here. The right side of the path and the left side of the park about here. Okay? So just generally penciling in some of the details and the figures. Now, this is gonna be interesting. I'm gonna get the head of this figure in just like that. And the two children, that's gonna be tricky. This one here, the kind of overlapping this one here behind. Okay. And simplifying the parties towards these rectangular shapes. I think that's the only way we can do it. Say rectangle for the body. And you've got the heads like this. Another child there in front. You can barely see that one just kinda likely outline of the body. And they kind of just wading through this grass. So we know we've got a few figures and the arm kind of outreached like this, which is going to take a bit more work to do later. But we'll figure it out. There's a bag. This lady is carrying some kind of a bag like this. Can you just kinda like a little backpack or something which we can put on? Add some more detail to that later. Okay. I'm just kidding some more of the head, some of the hair here of that figure as well. Just extra detailing for the figures. This is probably the one of the most important parts to make sure that we get right. Now the legs, you're going to find that these legs are not going to stick out too much. They actually finish off in the grass so you can't really see what's going on actually. A lot of these with the figures, but you know that there's certainly three of them. Bit of darkness there underneath, it's just scrubbed. So this grass so they're going to be walking into the scene. So I think that is enough to get by. I think I'll just put the shoulders in a little bit, a little bit more darker like that, just so that I don't lose. What's going on in here. It can be easy. Once we get in all the details that I'm realizing that we've lost the loss of the figures in there. So there we go. I think that's good. A good little indication there. And let's go ahead and start putting in these houses. Now I'm going to just use a really quick drawing, a cam, not going to try to represent guy get 100% representational. Drawing. This scene just a little, you know, you've got that house there, that kinda White House and you can see it kind of goes all into the back, into the distance like this. There's another house here that cuts over the top. Then just looking at them as these shapes is kinda rectangular. Rectangular like shapes, they're there. The bottom of the house is kinda like here. You can see there's like these little bits coming down the bottom. There's a window here. The tree here, through the center. Though, these like little windows here. But you don't need to really get them in. Actually erase them, just looks a bit messy actually to have all those windows in there may change it up later. You've got a big tree here that's just kinda going over the top of everything It's missing to house all the way here. Bits, pieces here. I don't know what these, or there could be a little shared or something. I think that's a little shed and some bits of wood or what have you often the distance here just behind that tree you see a little house just peeking out. Smaller as well. It's not too obvious. And it's kind of in the same angle going back on that same angle as that house there. So just getting in that rooftop. Again, it's kind of rectangular like shape like this. Here. The one or two big. I'll just reduce this down to touch so that it's smaller. Something like this. I have to really make sure that this is looking accurate because with the man-made shapes, they do, they just tend to require a little more attention. Okay, That's it. That's basically that a house there. I mean, there's a lot of little details here which we can add in later on. Okay, just ground and some debris and things here there's a tree to the left behind all this stuff behind. It's just trees really. And it might have some wooden things here. Little tree in front there. I think what might be interesting is perhaps to get, maybe another, should we get another figure here in the bucket? Just an indication of a person standing in front of the house or something like that here, walking in the distance. Maybe someone just standing there. That's more of an angle. I want to just maybe get them standing up right. Like that. Okay. There we go. So telling a bit of a story, maybe I'm coming home. Okay, good. All these trees, they look quite complicated back then. I'm not going to draw them all in. We'll do that later with the watercolors. You can see here there's another building, or really, really small slither of this white building here in the distance. So just getting a touch of this, it's kind of in the hilly, a hilly section out in the distance. You can just see it's mainly the rooftop you want to get in. And there's another one here, just a rooftop there. You can even see off in the distance here. Little the two houses, a little rooftops or something like that there. I'm just trying to look a bit closer. It's tricky to see. I think they were just I'll just do these little squares or something like that. That should be fine. I don't want that to be too much of the entire scene. But having this kind of hero like to like mountains and stuff in the background, it's going to help. It's almost like a little clearing there where there's a small village behind these houses. That's just just trees, really. Just these little trees everywhere in the distance. Disappear off up into kind of like a mountainous area up there around these houses. There's just more so little trees and even here, let me just mark out a little section here for the grass. It's kinda like a greener grass there. We've got a tree here, we've got another tree here. Apart from that, not all that much. We can put in a few posts like fence posts or something in some of these areas. Just going to put in a few, something like that. But I think we are ready to go going with the painting. 7. Field Scene - Light: First things first we're gonna get in the colors of the buildings. And a lot of it is really just going to be white. So like here and you'll see like on top of the roof, he's kinda rooftops here. They're kinda like a yellowish, warm color, maybe a bit of burnt sienna, just going to drop in a bit of burnt sienna with some yellow mixed into it like that. Cut around that that white of the front of the building there. Okay. Then let's have a look here. This building also is a kind of yeah, there's certainly a bit of a different color on there. I'm going to get in some bit more darkness, tiny bit more darkness and little brown tinge to it as well like that. Just getting the roof top of that building. And if I can leave a little bit of white in-between as well, perhaps that might help. But then helped you let it join up in some areas. So there we go. Look, that's just the rooftop rooftop of that building. And you can see it kinda come down and there's little bits where the support structures, a little pillars just stick out like that. So I can it in a bit of that detail and just cut around it. Okay. Here there's some kind of like a tree, so I'll just put it in a bit of green there or something. Green. Good. Let's have a look at this house here. And now we've got again, that same yellowy color. Go so well on the roof, It's just a bit of yellow ocher mixed in with some burnt sienna. I don't want too much darkness in there, but enough to draw attention to this contrast between the, the white of the front of the house. Like that. Good, right? So I think that should do the trick. Now on the ground here you notice little bits of wood or cuttings and things here as well. So I can just look, it's just indications. Really. I don't want to overdo it. Lou indications like that. The rest of this is kinda just whites in there anyway. I'm good. Now, what I will do from here on is we're going to move further down the page. This will hopefully dry and times so that we can get in all the background details and what have you. But I want to get in this nice area in the front to just make it more nice, wet and wet sort of work. I'm now let me just cover this section of the figures and I'll spray around just a bit of this spray for my spray bottle, it's fantastic to help. Pretty wet the area. Okay. Now, grabbing a mop brush, Let's go in here with a bit of yellow, but a few different yellows yoga, some yellow ocher and I've got some yellow gold ish type of color. That helps. But I do like yellow ocher because it kinda granulate out of touch. If I can leave some whites and Hughes, well, that's no big deal. Now, why am I using yellow? Because there is actually, this is mostly green. But you'll find that if you start off with yellow and then introducing greens light, or even some blues, that it actually looks more interesting. And the reason being is that we've got different shades of green. So if I have some of these yellow in here, especially near the path, I can block out some yellow for the path and make it look more interesting as well. Now I'm going to cut around, we've got to cut around these figures, give very careful. But in all likelihood, we're going to have to just use some gouache on top of them anyway afterwards. But little bit there like that. Over the top and you can see the legs kinda finish off about here. And a bit more yellow ocher in here. It's just a combination of yellow ocher. Quinacridone, yellow, quinacridone gold color actually drop that in here. It's very, very vibrant. But with a bit of this other yellow ochre, it dulls it down a touch. But also my intention here is to try to draw some attention to the to the figures. Little bit of like a brownie color in there. I just dropping in some variations like this. Here, the bottom of the house, this is green. And just make sure I got enough yellows in here first. A lot of a lot of water. It's mostly just water, this mix, if you think about it, it's mainly making sure that we've got a nice soft and transparent foreground. I've been dropped the water straight onto the page at times like this. I'm encouraging it to mix around and do its thing. Mix that around. Good. Here. I'm going to just drop in some greens now. I've got some of this color here. It's undersea green, just dropping in a bit of it. As you can see with this little brush. I'm using also a fan brush. Well, there's the mop brush and this fan brush is going to help me getting some variations in here, especially while the paper is slightly wet. I don't want that to spread too much and I also want to keep some of that yellow in their mind you, so I don't want it all to just turn into a complete mess so that it's a combination of yellows and greens. I want to make it look more interesting than the reference that just that yellow is shifting around. I can move some of that over the side. Much over there. Okay. Good. More this green color. It's kind of more like, it looks more like a golden field now different from the reference. But as this green starts to seep in everywhere, it will change a little. Not only that you can make sense if you pick up a bit of blue, for instance, like that and just mixing a bit of blue, ultramarine blue. You can then get extra colors as well. If you find the areas that it's just kinda pulling a bit. If you want to do this, you can lift off the paint as well, get rid of some of that color. Then continue on. More here. Here. I want to just also make sure I'm leaving enough of that yellow here for the path to just make it look like leading into this scene. But we can, of course, work on that a bit more later too. Just by getting in some sharper brush strokes. This is all just wet and wet and it's very difficult in this stage to imply detail. You just can get in little, little indications of detail rather than anything that looks to shop. Some more here, look at that. It's just all blending nicely and you're using a brush like this really makes it so much easier because you can at the same time implied detail and just getting a large area. Now these rooftops, you mean should be more or less dried, which they are. Another thing I like to do is flick some paint in here if I get a chance. So I might pick up a couple of brushes. This one, this one again is just that round, not the round brush, fan brush. And I'm picking up bit of blue, ultramarine blue. And I can just do this kind of thing. Some of that color in there. A bit of ultramarine blue and hopefully that will dissipate out of touch. This is some green. Then I'm just deciding to put in here a little bit of green. Okay, drop that in there, do something. Just want some varia, variability. I don't want all the same same in here. So even just a bit of water, I'm just flicking that in there with some blue. You can really imply Islam, little details and interests here, but you don't want to go overboard. Just going to spray some of these too soft and down that blue. Some of these actually purplish color doesn't matter, that they're good. That fan brush again. We shuffle some of this paint around it as long as that bits of yellow in there, I'm completely fine. I'll come back to this in just a moment and work on some of the stuff up the top. And I would use a small round brush. Round brushes, small mop brush. Okay. So very, very light paint. I mean, it's mostly water, 90% water and ten per cent paint in here. Shift the paint around on the paper by moving. Moving the paper as well. That can sometimes create some interesting variations. I've got different greens here. I've got some Hooker's green and I've got some undersea green. And it's important to use a variation of different greens as well. It keeps things interesting. I've got some Hooker's green and some undersea green, which I'm going to use for the background. And if you don't have your own tube greens, just make it up, use a bit of yellow and a bit of blue together and you can get pretty much the same effect, but try to use different concentrations of both mixes. So you can get some different shades of green and colors. So look at that. I'm just going straight into this background here, cutting around this house. I want to make it fairly dark too. I've got some purple even in green to just change it up a bit. And as we come down to here, that's just the bit that kinda joins on to the, to the grass, the front and this field. I can just join up some edges like that. But for most of it, I'm just going over the top like that. You'll find also the up the top here that there are some lighter bits of green as well. But a lot of this stuff is just one. You can treat it as just one big shape. Then we can add on some dark colors later. So I'll just get this all in big shape and some extra blue in there if you want. Some darker bits of green. Mixing in some blue in there to create some contrasts, darker contrast like that. You can do this got cut around the edges of the house here as well. I'm just going to cut straight over the roof like that. Blue here. The background. In this area actually there's these houses and they just these rooftops. I'm going to cut around you kinda little square shapes like that. Something good. Some more off here in the distance. Then of course, these rooftop here doesn't need a bit of extra darkness in the background to cut around it. Okay. Maybe, yeah. Yeah, move that down. And I'm cutting around extra bits and pieces in this section to like this. These bits of white highlights down here, they're just it's like a shed or something there, but I'm not sure exactly what it is, but look, it doesn't quite matter. Just as long as there's a little variation in their neutral tensor. Easy little color that I pick up that helps to create darkness. Cutting around those buildings. I'm also down here. It's kinda like a lighter green. I can just add in a bit of light. They're lighter green and then drop in some of the darker bits nearby like that. I just wanted to add some more on here. Okay. I can get a bit to just sort of melt into the yellow was well further down. Make it look a bit more interesting. Okay. Some more yellow up here is more than golden color. Don't want too much of it, but just a little bit there, perhaps. Green. Good. Work my way back and cut around these buildings again, like this, like this. Rooftops, rooftops exposed. One here. Just blend this nicely together. Notice how it just starts to look blend together and look like something's there. Okay, Moving further up, again, just varying the green touch. You can leave bits of white and they're like these. Don't feel like it's going to mess it up if you use too much light. Leaves, these little highlights. And I mean, so here you've got really dark trees off in the background. So I'm using just pure green with some water in there and some neutral tint so that I can really, really dark and off this area in the background. Maybe some purple as well. You can use that. Together. All very nice granulating colors that together create some extra details. Imply stuff that's something that's there. Hey bit more darkness at the back. Bit more green. Okay. What are what are here? Then this downwards? Some of the standard drive it funny, I can just pick up that paint if it starts drying in a weird pattern, I tend to do it. I tend to do this. Okay. Good. And you can see some of that color already start to run down the page. Bits and pieces. More green coming up here will imply some of these trees and things in just a moment. But firstly, we just, as you can see, I'm just focusing on the the darks and getting in a big wash of color over the top of all this. I think that's key. Painting, mainly wet into wet tree, maybe in front of this building here. I'll just imply that not only that there's maybe it's coming on top of this building too. Little bit of dry brush like that. Some of these green. Just keep that brush a little bit dry and then kinda stumbled across top like that. Okay. I want to eliminate all that light on the roof just to just put a shrub or something like that. Now you've got other shrubs and things here as well, but I'll leave this leave some of these would later. So we can get a sharper sort of tree shape behind their good. Just having a look to see what else we could potentially, we could potentially add in here. What I'll do is let's put in a bit of color in the foreground. So essentially some darker bits of grass using the same technique. I've used it for wet and wet technique, but I'm picking up some green, some darker green. And look at that. I'm just feathering a few of these little shrubs and things in here. That's shrubs, but they basically just grass. And I'm getting a few sharper looking brushstrokes and the paper has almost dried. I would say it's maybe 70 to 80 per cent dried. And at this stage where it's kind of dab. And that's why you can sort of further things in. And they look, they look kind of sharp effect. But it doesn't overwhelm. What I'm trying to do here is just create this pathway where I am creating this the grass coming out from the center of the path, which is this golden color and feathering, feathering out. But leaving the center, center of it. Nice and golden. I'll do this all the way up the back here as well so that it just looks like it looks like a path coming in. I suppose that this needs to be darkened off there. Nothing can do is also pick up a little blade or a credit card or something like that. And you can use this scratching out technique. I love doing this to just scratch out little bits of highlights for lighter grass and things. Not only that, there are actually inside, if you look at it carefully, there's almost like little flowers running through as well, which I will imply later, probably with some gouache. But look at that, we can just scratch out some little highlights. You've got to wait until the paper has almost dried before you can do it. It's in that damp stage. Okay. More green and there are little, little bits of green in here as well. It's not all just gold, so I need to make sure that there's some of that in here. Tiny, little, tiny little bits in here. Okay. Shop sections. And just to make sure this is blending in, cooperating with everything else in here. With this section attached to soften it up here in the back. I thought it was too much sharpness in there. I'm here. Perhaps some should know. You should know little bits and pieces. 8. Field Scene - Shadows: Remove some paint here and there in the background to create maybe some highlighted trees and stuff here and there. Yeah. Just just picking off paint here and there. Okay. Tissue. Okay. Good. What I'll do is start working and bid on the house and the background. And I'm just going to pick up a little bit of a cooler color. Okay. It's like a grayish cool almost like a purple ish cool color. I'm just going to drop that in. That. Okay. Bring that downwards. Like this. I'm good. So when this house here, little bit there, because the light source is actually coming almost from the top bright or completely above really. You're going to get a bit on the roof top and then a shadow underneath the house. Like here. Here. You can see in the areas that are almost dried, you get a bit of this effect and this kinda dry brush effect in some spots. Let's keep it nice and light though. If you do get that, um, don't want any major contrast. Just a little bits like this. Feather it in and move on. This continued layering adds detail as you continue and you want essentially just dry it off now. Okay, so for the final touches, we're going to add in some details of the trees, just a funnel, extra contrast, a bit of details on the houses and also the figures and bits of grass. So I think what I'll do is I do think the buildings in the background and lacking a lot of detail, I want to start with them straight away. And they pick up a bit of darker paint and dry off the brush and then carry on. And I'm adding a little bit of darkness around the edges. Just as I'm doing here, be very sparing with it. A lot of times I don't even I don't even join up the lines properly. I just halfway sort of finish him off and then touch and go from there. You can see, you can just bring out the little details in the houses. And this is again, all this stuff on the little Windows and things. Whether you want to put them in or not is up to you. I've decided I'll just try. Maybe I can put in $1 or something. They're just indication of a door. There is a little tree next door, but there's also this house here that needs to be detailed significantly more. You've got the extra darkness underneath here, here, and here. These pill is like really painted them in a bit of that brown before so you can see them show through nicely. But it's just a bit of darker color really at the moment. Not anything special. You can make this use black or you can use really any dark color. If you've got a gray that you've mixed up as well, That works too. You'll notice on the sides of the house, even the trees and stuff, there might be a little bit of extra darkness that you can bring out. So I have chosen to just add in a little bit of a dark spot here underneath the house here, of course, there's extra darkness there. Let's have a look. The tree here does have some bits of darkness on the right side and underneath of it like that so I can just fit them our way through some of this stuff. Very, very dry brush technique here, just picking up bit of that paint, drawing the paintbrush off, and then continuing on. There's another, another bit of darker tree here behind as well, this house. So I can just go in, imply some of this detail and usually use it to reshape it, touch. If you think that there's a I didn't think that that part was so accurate. So I've shaped that carefully. Every careful with this stuff. Sometimes I tend to, if I'm not careful, I can make it worse. Little bit of that darkness behind there. Just a dark color. I've got some purple in there as well. To change things up. Also, you can do some negative painting like this and just leave in a tree at the front. Like that. Here. This could be another tree here. Cutting around objects and shapes, can bring out details. Underneath the roof top here. That's just going to put in a little line for that roof here. And this is some of these little windows. I thought why not just get in a few small indications like that. These chimneys as well. Here I can imply something going on in there. I'm more darkness off in here. We're just basically picking out some darker trees that we want to create some sharpness width and while leaving, leaving the the previous wash in there as well. So we've got some different details going on. So what I'm doing, I'm just picking out bits and pieces I want to emphasize and darken and making sure I'm also leaving other bits and pieces to another bit here. Soften that tree off at touch there. You've got more trees and things off here in the distance as well. Fan Brush might be helpful just to change the brush strokes up a touch. I've also got this funny old round brush that does a great trick. One trick, which is just to get an, a clump of these tree-like shapes like this. Okay? So what does, by layering over the top, you can create the illusion of different trees and things off in the distance into the background. So especially up here where you've got these tiny little trees that go up into the mountains. I don't want to spend all day putting in every little shape. So I can just do this quick little sporadic color. Green and black just mixed together to create maximum contrast. These houses that we put in there before. And they look like trees more here. Balance it out by adding some of the dark spring, some of those darks down as well. So it's not just one area that's completely dark at the top. Look at any scene, there's just a variety of tones in there. And you just got to layer over the top and to create that sense of detail. That's just some could be something else in there. I'm just guessing. Making it up really more here. This was that mountain that's going up into the hills. When you've got these little houses coming down, then you've got a slither of these here, which is like a, the bit of area. Some more bits here. This is all just as you can see, all wet on dry. Wet on dry is a technique you just use to create sharp looking shapes. And when you pair sharp looking shapes with soft shapes, you sometimes, not sometimes, but you get the impression of. Detail, so swapped to another brush up, using that one for too long. Okay. It's more here, maybe the flat brush, back to the flat brush again. Here. And there's a very obvious kind of clearing here as well. So I'm just going to be with that coloring here. And leave, make sure I'm leaving some space as well in this section. Thinking whether I want to change. This is another tree. You, and just bringing that further down in the bottom of that tree, in some trees here in the background. You can see in this kind of clearing as well. Some more, they're more move this effect. I'm getting more rounded shapes and treelike looking shapes by using the round brush like this to get in small impressions. Going up into the into the distance. I want to see them. Something going on back there. I don't want to do it. Okay. But as you can see, there's a few things already happening. There's a shadow also on this coming down the side of this building like this. And I'll just get that in blue, softer shadow or some parts of it are softer like that. Okay. Just wet that bit. Touch. Even here you notice there's like a tiny little. Let's pick up some of these grayish color. Everything's starting to look green in here. A little bit of that. I'm a little bit here as well. Maybe. It's often that down. Good. Work a bit on the foreground. And just like I was doing before, just adding a few little quick brush strokes here and there for the for the grass. And I'm implying these kind of path moving to the back as well. I'm just trying to do you use this reduced so this all down a touch. Just create a path. Look like it's going into the scene. Whoops, too big. This bit of grass. I will just have to move it around a touch like that. That just these little bits of grass that are sticking out somewhere in the middle as well. But that just coming out as if this path is being taken a few times before and the grass is just partying. Make way due to all the traffic. Runs in a few different directions, is actually some grass going over to the right like this. Okay. Here we go some more in here, bits and pieces. And the paint consistency is still very, very light. I'm using mostly just water in here. Okay. But I'm also making sure that it's slightly darker so that this yellow doesn't show through when I go over the top of those particular areas like that. This is just some of the most relaxing for me anyway, one of the most relaxing things to do, kinda getting it to blend together and join. And I'm trying to get some of the back areas to join and blend a bit together as well. So it's not just suddenly you've got house houses and stuff. You've got bits of grass, and then you've got a bit of an overlap here. In front of the house. Ones one's going to be too dark there, but that can be had and it could be a bush or something. There. You can see here there's much going on. It's just a lot of yes, I'm just going to be a bit more spearing. I paint application there. Can just dilute that down more so that it's a very, very, very light here, just some more light brushstrokes in here to get some of these little bits of green bits. I've also got some yellow ocher. I'll mix some of that with a bit of black. I'm just tiny bit of that so that I can get in some maybe some darker strokes of these grass in here really overlaps with. The figures don't have much here as well. I need to just getting a few more bits of brass and things in the foreground. Starting to come together. More green here. Green years. Well, the tricky part is just getting in these brush strokes that they look like grass. Having a fan brush really helps, just cuts that time down. Another thing that you do get as well as these little these little flowers and stuff running through the center. I'm just picking up some white gouache, seeing if I can.in some of these, like without too much hassle, I base my tiny little flowers that be a smaller round brush will do me better. These small round brush and some white gouache. You got it straight from the tube, that's better. Picking off a few areas that we can bring back. Probably the easiest way is to do some flicking. As you can see, just a bit of this. Be like wash some of that in there as well so that we get some smaller ones. Some yellow as well with the gouache. Oops, that's too big. It will dispersed bits of yellowy ones. As we move into the back. Actually, it's probably going to be easier if we put in the flowers. That flicking technique. It's more like in the front of the scene. You can actually put, make larger ones. Trying to make sure I've got some interesting contrasts in here. It's tricky, but it's doable. Starts looking a bit too stuck on. I tend to do this in like smudge, smudging area. More coming over to the right-hand side here. On this side, bits of yellow. Let's get some more white in there. Okay, little round brush. Does the trick really? Not only that, but you can pick up some gouache with that brush. It'll be too yellow and bring back even some of the grass like this over the top. Another little technique like that. I don't want to overdo it though that's thing. But just have some lighter grass in here. In some areas. I drop in a bit here, maybe in the background, in some areas as well just to get some of that light, maybe back in parts of the parts of the background that it's kinda ten more of these greenish color, more yellowy wash, much of that in there. Okay. Just a little bit here near the near the buildings. Well, I want to just join that up and touch the figures. I'm going to start putting in a bit of color. Turquoise, see color maybe purple. There we go. And I'm like a purply colored top for that figure. The one in front, maybe I'll just dropping some red or something here, just to be red. Ones here. That figure. Tricky. I think I'll go kind of same bluish color but lighter. Lighter for this one. Here. Bit of darkness for the legs coming down into the into the grass like that. Read the heads. 123. That also start putting on some hair if you'd like. A yellow. A yellow for this one. Gotten rid of the head. Incidentally. Some darker color here. These bigger, maybe it should be, that should be good enough for the figures. I think that's implies what I want to employ. So but I will just go over the bottom of the legs attach to blend some of this grass into the features more so that they just look like they've been covered a bit more by the grass. Who will kind of move mints like that. Okay. You read in the video that gouache back here. Just wanted to bring back some of the head part. Okay. All right. I'll call that one finished.