City scene paint with Gouache

1. Instroduction: Hi, my name is Fei illustrator based in Germany. In this class, we're going to start with a blanko paper, do the sketching and composition, then color it using gouache. During the whole process, a ton of tips and tricks are shared. I'm sure they will be helpful for you. In this class, we are going to go through line by line, step by step together. You can do it in your own pace, so there's no problem at all for you to follow along. I'm sure after this class, you'll be much more confident in doing illustration. Now, without further ado, let's start. 2. Materials used in this class: First, the materials we're going to use in this class. First, I'm going to use watercolor paper for this illustration, even though I'm using gouache and mine is from HanmllerEpression, 300 gram, 300 gram. You can use whatever watercolor paper or mixed medium paper you have. For colors, I'm mainly going to use this box that I got several years ago from Amazon, and also I'm going to use the color Rosiena from Vincent Newton. For brushes, at least, we're going to need one middles round brush and one smaller round brush for details, and I'm going to also have one square brush for this illustration. And don't forget a pencil to do the sketch. You may need a sketchbook or just some blanko paper. Also, we're going to need one or two jar of water to clean our brushes during the process and to make the colors. Last but not least, don't forget tissue paper to clean our brush or to clean the paper during the painting process. That will be all. What we need for this class. Let's begin. 3. Sketching I - basic composition: So in this class, we're going to illustrate this beautiful city block them. The two examples here. You may notice they have very different perspectives. One, we just watch the city block upfront. It's all there's no perspective, we just watch from one single point of view. The other one, there are several buildings that are put some perspective in it. There's more space in this illustration. There's more space between the buildings. I like them both. For this class, let's combine these two together. Also, these two illustration, I made them simple canvas. You squash. But for this class, we're going to just draw one city blocks in on normal watercolor paper. But before we start, I want to sketch with you one time on normal paper to practice and maybe I can give you several tips, make it easier for you later for the sketch. Two different city blocks with no perspective, we just look the building from the front and the other one with perspective. But one they have the same, which is the buildings, they have different hive. Even though we look in this illustration, we look all this building from upfront, it doesn't look flat. There's still depth in this illustration, and I think it still looks cute. I hope you think so too. I make it by using different in this illustration and also the building in the upfront, I draw it with more details for the buildings in the bike, I use very simple blocks to show the windows. Also, from this technique, it gives this illustration a depth from which is front and which buildings are in the back. The same goes with this illustration. They have different health and the building up front, more details and the buildings in the back more simple. So now when we later draw on the watercolor paper, I want to first give a frame on my paper. Here, I will just do it roughly. Here I use a bow point pen so you could see it better clearly through the camera. Yeah. Let's combine these two in striation together. For the first one, which we look from upfront, I'm going to take the building on the red corner because I think this combination I like the red and light yellow combination. I think it looks really cute. These two building together because I think the buildings with stairs in the front is very tupic for New York. I also like this white towel. I think it gives more character for city blocks, so I can keep it. And for the rest, I'm going to take from this illustration with perspectives and we're going to combine them together. For easy start, let's sketch with this one at the right corner. I didn't measure exactly where the building start. I practically just ebo it. Like this to give it one line for the latest details. But for the windows, we don't practice windows here, we just practice the structure and the composition in the simple sketch. Now, before we draw these two buildings in the middle, I want to fill in the front first. With these two buildings, let's start with the perspectives. Also for the perspective buildings. I didn't measure the angles with a ruler, I just apple it y. For me, it is enough if the angles looks enough for the human eyes to make it appealing. It doesn't have to be mathematically correct. We are not going to build this building physically, we'll just make acute illustration. For me, personally, it's enough if it looks pretty. I start with the right one the left one. It doesn't have to pretty. One simple tip here for the line which go uh vertically, it always goes it doesn't matter if the building looks upfront or with the angle. The vertical line always goes down up and down. There's no changes. And for the perspectives, I mentioned I didn't measure it. This one simple tip I can give you is ebo it. The line is always 90 degrees between the two lines. Because in the building the corner is always straight. It doesn't matter from which angles, so the line should be 90 degrees and that will be fine. We have this one and the second building to make it easier. I draw the vertical line first. 90 degrees and the vertical line just go straightforward down the other tip is the line on the opposite side, they are parallel to each other. Just like that, you have a city block with perspective. Here, the No street and even the s street, it doesn't matter at this stage, we just give us a clear composition and the structure for the buildings and Illustration. Later we will do the sketch on the watercolor paper, it'll be easier for us. In the font, I think I'm going to just leave it with these three buildings and go back to the middle, I'm going to take this one with me too. So The lines are parallel to each other, and I try to make exactly 90 degrees between two lines. So also, I accidentally drew these two buildings like they are parallel to each other. But in my original illustration, they are not the same. I think doesn't matter here. It's our imaginary city. We can make the city block as we like. So you can decide which perspective you prefer. I'm going to draw this one in the middle too. Vertical line straight down. I think Otical line and the opposite line is parallel to each other. Like I said, not perfect at this stage, doesn't matter. Just give us the composition and we can move forward to these two buildings. Just make a bigger block. Basically in the middle. And for the more details, we're gonna draw it directly in the watercolor paper on the watercolor paper. And I think I'm going to take this one. Like this and the white tower. And for me the link on the left side, there's more empty. So I'm going to put one more buildings here. I think I'm going to put this building on the left in the head between these two. Somewhere here. Um, so that's it for my buildings. Now you may notice I didn't have much space in the upper side for the sky, it's okay for me for this sketch here. But later to do the sketch on the watercolor paper, I'm going to move the frame a little bit higher so I have more space open up in the sky. I hope it's clear for you now. Maybe the perspective part is a little bit tricky, but now we're going to do one more time together on the watercolor paper. 4. Sketching II - buildings : So now I got my watercolor paper. Mine is from HanmllerEpression, but you can use whatever watercolor paper you have on hand. So to sketch on the watercolor paper, I just got one brilliant idea. I think I will use the convent to give my illustration a frame. If you don't have the convents, doesn't matter at all. Use whatever box you have on hand, you can give it a frame or you can draw it bare hand. It doesn't have to be perfect. I will explain to you why. Now, I have a basic frame for my illustration. Now it's easier for me to make the composition. Later when we finish, we will just erase all these lines. We don't need it. So it doesn't have to perfect like I said earlier. Here's the Itron reference and our rough sketch earlier. Starting with the one on the red corner. For the height, about it. I just won't make it too white. Leave more space for the building with perspective, I think. That's what I'm going to do. The first and the other one on the other corner, the one and then the vertical line straight downwards. And the third line, I won't measure it. I will give it a 90 degrees line, that's fine. Can you see it? I hope you can see it better. I don't want to zoom in now only because I want you to see the two illustration references and the composition we have earlier. Maybe you want to change it somewhere you want to make your own composition, totally fine. I'm glad to see it. I want zoom in now. I hope you still can see the line that I draw clearly. The one in the building with perspective verticala straight downwards. Vertical like straight downwards. I'll give it a perspective. 90 degrees verticline straight downward. And the line on the opposite parallel to each other. Ibo it and parallel to each other. Yeah. Yeah. And this red building in the behind um, what I also noticed earlier in this sketch, it almost looks like it's the same line for these two buildings. I don't like this imagination. On the watercolor paper, I will make it more distance between these two. More structures in my composition. 90 degrees 90 degrees. 90 degrees. To each other. So, I will make the light darker so you can see better. But you don't do with PenthoT dark. You don't have to. I only make the line this dark so you can see it better through the camera, but we don't need the pensul to be this dark. The later, the better as long as you can see it, you can recognize where the building are. We mentioned these two building in the back. I think but first we need one more building in the front. Remember, not the same line. Make it some distance between each other. Vertica straight downwards. Make it a street. Okay. Like this. Is it clear? Yes. And now we can draw these two buildings in the back the top buildings with staircase. Mm Yeah, do you think I think I'm gonna make it. I tick white. I did bigger than the one in the earlier sketch. Saw enough. I have enough. It's difficult for me. It's also easier for me to draw two single buildings than one bigger one and then separate in the middle. So I can better measure it. Yeah. I think this one this one maybe too narrow for each buildings with their case, and now I like it. It's not so narrow. I think it's better this way. And all the details for the windows and for the decoration lines, we're going to draw them at the last. We will finish with the whole composition. And this one building on the right side. Fairly high with perspective. It's not always easy to draw a vertical line downwards straight, right? It's smaller than we do here, doesn't matter. That's why we need the frame in the beginning. But I think it is okay this way. And the towers, white Towers. Sometimes it's easier to draw a vertical line straight downwards, sometimes not. For the upper part of the white tower, I will draw the upper line first parallel to the baseline and then combine the d. The one building on the left side, different height I will make it a little bit higher. With perspective. We didn't enjoy it in the sketch earlier, but for me, it's too flat now. Basically this block in the same line. It looks too flat for me. I don't want it, so I'm going to add two more buildings here. I really forgot where I got all this photo references here. I think I looked at some photos and then combined with my imagination, I draw the city blocks and the two. The second one. So better. Also in the background, they have a different height. I prefer it this way. And you know what? Now we finish the composition, I'm fine with it. I will erase the upper line from the frame that we draw earlier. Later, when I use blue to draw the skies, I won't have a straight line here. I will make it more freely. On the other three side is a straight line cut and by the open is more flexible. I think it will look better on the watercolor paper. And also on this set. I would just erase it. That's better. On the two set, that's a frame we draw earlier, that's a higher part, I ate them. We don't need a light anymore. Now let's go in for details. 5. Sketching III - details: For details, I mean, the windows and the different decoration lines, I will call it. How do you call it a building? This. Now for the details, I will zoom in for each buildings, hope you can see better. So, no, I just draw one line here for this one building, and I'm gonna draw windows for this one. There's two lines of windows. I don't like when the windows are too big. Change like this. So like this. To make it more easy, I will start with this one. This two has no perspective in the building itself. So it's too light, right? I'll make it. Uh, needs to be darker? Yeah. Like this. And for these windows, I want to draw the tubico one with the round one on the upper side. Yep, I want to make it a little bit Teper deep, lower for the windows. Um, so there's more space in between the um for the staircase. Okay. Like this. And on the other side I change it because there's no much space between this building and the first window start, so I don't want to make it too different from each other. But somehow, I always make it bigger than I intend to. Better. Remember space between the two windows from upper to the lower side, more space for the staircase. Yeah. Make it smaller go downwards. Do you think this illustration looks easier looks easier, but when you really sketch it, it's not that easier than you think. Go downwards. The staircase later we just go in directly with squash. That's the easiest building to draw windows because there's no perspective. Now I will put this away so I can see better for the windows perspective. But still, I will oom in for each buildings. So there's a line we make it darker so we can see better. And the first one we make the top of the line here. Imagine they go to the two lines go to the same direction and end in the same vanishing point. I bought it, I didn't measure it. That's enough. Now for the windows, due to the perspective, I personally don't think it's necessary to draw every single line of the windows like we draw with the front view. You can see here, I give it on the other side more depth. I draw it with gouache, make it more present. And the side that we should not be able to clearly see, I won draw it later with gouache. If you want, you can sketch it now with watercolor so that you have a clear space later for the window itself, it depends on you. For this sketch now, I will draw the more important line with darker pencil lines and the I draw it, but with this make it very light. Just so you know. So all the three lines have the same vanishing point. And all the vertical line also go straight downwards. And you can make it longer, and then you have the other windows. And these two have the same line. So I draw the whole windows. Each line. But later, we won't withquash draw y lines. Maybe I can put it you. At least for this building, you can see it better. There's the roof. Make it doubled lines. This is somewhere outside the paper, there's a vanishing lines for the papers for these two lines. Like I said, I didn't I don't like to measure it with a ruler. Um, I just about, Loki it. Mok looks appealing for the eyes, and that's enough for me. Now, we have another two lines here in the body of the building. I will do this first before I draw the windows because it also give the structures of the windows, it'll be easier for me to draw the windows. Basically, just to see that from the left side and the re side of the building, you have the exact same space in between. This looks fine enough for me. So this line is basically the same length as this line here, and this line is basically the same length as this line here. And this should be correct enough for roughly a sketch for the perspective. And the second line should be either. Always have the equal space between the two lines, and then you are fine. And I notice the first line north street So that's enough for me. I didn't draw the vanishing point and combine the vanishing point. Um, I just go in with simple rules. So do we still have enough space for two windows? I think here, I'm going to just draw one windows. I think those will be too crowded for me now here. Oh, we do two, but two smaller ones. I don't know work? I can't work this way. I see there if you draw the vertical line first because it's just the line go downwards and not complicated to think. And for the palline they're just in line with each other. I don't know. The same space between the windows to each other. I mean, the same space between this window and the upper line and this window and the upper line. So, like this. So if the first window on the left side start here, the fourth window on the If the fourth window on the right side start this side, and the last window on left side should end here just to make sure they have the same space. I look better, I think this way. And now, let's see if we can make it work with four windows. The windows, the size of the windows should be the same and also the space between the windows should be same. I think it could work with four windows. I also draw a lighter line together to see the composition and if it works, which it does in this case, and then I will make the line more darker. And then also the lines should the same lines on the same height and the lines should have the same distance to the upper part of the building. So we don't need continue it. Do you understand how I draw this upper lines. These lines should also go to the same vanishing point. And to make it either, I will just ebbo it this line from starting to the end, have the same space to the upper lines here, and here is the same. Then it looks fine. So for the lower side of the window to be easier because we already know where the vertical lines should be. It doesn't matter how high or low you draw the vertical line now. We're gonna make it. And this line I'm going to draw now from the starting to finish, always have the same space between the upper line. It's not. So make the light that we use for the windows darker. And so And to draw the in the middle of the window also choose the middle of the left set, the middle of the re set, and then combine it. Middle of the left set, middle of the middle of the left set, middle on the right set, and then combine. Middle on the left set, middle on the re set. Me do on the left side. Me do on the right side. This method is this method easier for you to draw a perspective? Because I didn't go in with, um, vanishing point and things at all. I think, um, this way maybe it is easier. And for here, we don't have the whole windows. So it is difficult to maybe for you to imagine what the middle line is. It doesn't matter for the first two because it's really just make the upper part more understandable part looks the same from the upper part looks the same. And it should be enough. Yeah. Because the window should also on the same side. So if all the upper side look a poked max lee the same, then it's fine enough. Also, not too exact. So I don't need it to be too exact. And the decoration you can draw it with a small bricks here. Or later if you don't want to, we can also go in with gouache. I just want wash. And if it is not perfect, it doesn't matter. We don't want to make everything so exact like it should be. Straight line straight downwards and then compare the two. Like this. The lines the vertic line goes straight downwards. And when you combine these two lines, there should be always the same space between the two horizontal coline. And then that's fine. So we go through more details with this one. Let's try one more from the other side of this building. So two lines. So we have the roof. 12 lies under it. Also here, they should have the same vanishing point, all the three lines. But I hope it'll be easier for you just to understand you don't have to visually draw the vanishing point. For me, I think it's enough so long as I notice they always have the same space between the two, the two lines, that's enough for me. And for the windows, the same. The fourth window on the right side, the window on the left side. I draw the line just to make sure that they have same space to the end of the buildings. And this time we try another technique. Maybe we combine these two line first to make sure that the line always have the exact space to the upper line, but make it light. It's just for references so it'll be easier for us to finish the windows like this. And now we can also better visually divide it to three windows. Yeah, it works. And then make the upper line of the window darker. So for the finish line also approximately the same size in between two lines. So I finish this line by looking the line also always have the same space between these two lines. Don't worry if it doesn't perfect from the first try. I had to be patient. I also have to change several times. So if you have to modify it several times, it's super normal. I draw the other beginning of the other window and to see always have the same space between the two lines and then add in the vertical lines from the upper part. At coline just go straight downwards. And then I erase the part between windows, and I only have the second line of the windows. And the middle part of the two lines, combine it, middle part of the two lines. Combine it. Imagine if you elongate this one, combine the middle point of these two lines. Then maybe begin easier with the middle one. Ebo it. So the line is basic on the same line and upper part the same sides. I think this window is a little bit too big for me, but I will leave it now. The same way we draw the bricks here, vertical straight downward to comb this line, we just need to notice that this slide the space in between are even. So I hope now is easier and clear for you how we draw windows with perspective. Let me think, um, for these two buildings in the back, I'm going to use the simple windows so I won't sketch it now. I later when I finished it, I would go in with gouache color directly. Also the upper part of the white towel, I will leave it because the background, the sky is light blue and using gouache, we can cover it with the darker green. I think it'll be easier this way to just leave it and later go in direct with guash. But if you want, um if you prefer, um, I will go, you can give it a basic structure of the upper part of the um tower. But I think it's easier to draw. And later when we quash to draw the sky, you don't necessarily have to avoid this part. But for this line, it's really just one brushes dish. This one I won't draw it at all with pencils would be my recommendation. So these two we said we want to leave the window with simple details, go in directly with gouache color. Now we have one, two, three windows to finish with the windows. So for this metal part, I will take this building as reference since for the front, I have the window with the round upper side and this on side, I will have it with straight lines. So I'm sorry. The battery of my camera just went out before I noticed it. So I basically finished drawing this part. But let's go through it again. So in the front set let me see, in the front set, there's no perspective needed. At least I didn't use any perspective, like always. So verticline goes straight downwards. And if you have the first line, we try to use our eyes to measure it, stay the same. FT and the upper set, we made it round. Just combine the end of the two lines. Like this. Verticle go straight downwards. And there's no perspective needed in this side. Or in my in nutrition, I don't need it. So in the in the middle, also, I just eb it with the middle and cut the windows half in half. Again, there's two line downwards. Combine the upper lines and the down one. The bottom one. Yeah, it may not be 100% correct. Basically, this apple is correct. Like this. All right. In the middle or in the middle. Okay. So maybe perspective is not 100% correct. But for my eyes, it looks fine this way. So it doesn't have to be perfect. I know the space between the two windows are the same from this part to this part. And then when I draw the bottom line, I focus on to see it, you know, the window is not cooked. It's straight window, and then it's not for me to finish the bottom line. So let me um out last two buildings. Let's begin with this one is basically the same perspective. But for this one, because all the three buildings in front of it with the windows which upper part are around. So I'm going to use I'm going to use the no more windows. Like this, so more square windows for these buildings and also going to use the no more square windows for the building on the right side, just so you know how I'm going to use it. Also for this building, I think I'm only going to draw windows on the front set for the set just too narrow that we can see from the building, I won't draw any windows there. Let's start with this one. So the same process. Also because there's the building in the behind in the back. So windows should be smaller than the windows in front. Something like this. Also on the far set, no perspective for the windows. Hmm. So and I lie in the middle. All right. Something like this. Yeah. I noticed I didn't draw any windows on this side of the building. So I may also leave this at blanco. I know it's a little bit bigger than this one. Maybe just for not all the building is the same. I will leave this at Blanco, like it is. And then I will finish the sketching using by drawing windows on this window, this side. There's also perspective for this building for the windows. When we finish using gouache, I won't draw iron line of the windows like here. But in using pencil, I will draw iron line. Off the windows. Mm. So two lines of windows. Yeah, I think that'll be fine. Two lines. The street. Is the Comb to forest. And come this both the bottom lie. It looks weird, right? Um Hans. So treat hours and the same space. Yep. So this would be my windows. And just like that. We finally finish the sketching for this illustration. Let me put this to. The next step, we're going to coloring it with quash. One last step. I noticed this building here is not street, the space between are all the same, so I will have to change it. Like this space here, these are not the same. I have to change it. Better now. I found it maybe a small tip. Sometimes I find it's also difficult to I'm sitting down at this desk and I'm looking sketching this way and sometimes like this. But I found it sometimes helpful if you put your sketchbooks up front and locate with distant so you can see better which are not exactly right and then you can modify it. O 6. Coloring I - first 4 buildings: Now for coloring, for this illustration, I'm going to use the same color palette I'm using I used for these two illustration and I'm going to begin with the foundation of each buildings, and then I will draw using illustrate the sky and the last the details and the window. So I think for the foundation of the buildings, I'm maybe going to use these two brushes. It depends on how big the buildings are and how small the buildings are. So when the brushes are dry, you can always test it on your illustration to see if the size of the brush you choose fit for the illustration you have. I think it's a really good method to test it. And the most of the building, I'm going to using the set six definite novas tentis brush. But you can use whatever brushes that's suitable for you. So let's start with the upper part. These two buildings maybe of this set. I think I'm going to start from left to red because I'm using red hand. If I'm pin this way, I won't go in my hand with colors. I think that'll be better. Let's start with the very left one. I'm going to use green for this building. I have a green I will use this color. Still, I need to mix it with a lot of water. We need. I want this grid to be really light, almost transparent, like you can see here. You can always tie it on the paper you have on hand to see if the color is what you want. Too dark. And Um, maybe one motive. I'm not sure if it's a tip. I'm doing a little bit. When I draw there's there's a lot of windows. I need to not go in directly. So I want to show you how I draw like this. But I'm here, I want to draw with pencil one brushes like this and then go in vertically coloring the between space. Like this. Then because it should be the same space between buildings between windows. He will be careful. Don't do in on the other buildings. But if you accent did it, it doesn't matter. Later, this building now have a darker foundations. So if you accent go in with gray, don't bother. We can fix it easily later. And also, I forgot to mention it. I didn't read the sketch before I use colors because I still want you to see it clearly when I'm coloring it. But for your own sketch, if you can see it clearly, you can make the pencil sketch very light. I think it's always easier to make the pencil sketch light before going with color than after. So like this, it's okay for me. So on the left side, I would make it, I think, a little bit lighter than the phone set. Now we have already used the grey. We have the color in our brushes. We can direct in several with the roofs. The roof here, I use all the green with different valuation and we already mix the green. I think I'm going to add it here. But a lot lighter than the building, it is. You can still see the difference. For this building here, I'm going to use mid yellow like this one. I'm going to start with the red set because these two part are connected. So I hope it have more time to dry. I go to start from the red side of the building. I actually really hope that now you could tell me if you want me to zoo in the camera so you can see my brush movement a little bit better or you want to state this way so you can still see the references illustration. I hope you could tell me that maybe for the next class. So like this. Just go in with the paper with water tissues to make this set color a little bit light because I think it's because I want to make the front a little bit darker than the side, and this is already too dark for me and I can't I don't want to make it front. The front set even darker, so I make this set a little bit lighter. Like this building behind the front is little mean. The front set a bit darker than the red set. So and this illustration for me is with this set, darker than the front set, darker than the front set, darker than the front set, but darker from the front set. But because I was thinking the light come from this way and the shadow is on the side. You can decide for your illustration where the light is coming for this illustration, it's coming from this set. A We using basically the same technique that we use for the other one. Just on the front on the upper side, we have to be careful because it's round on the upper side of the windows. Use different angle of your brush. Oops. Use different angles of your brush to make it works better for you. I think this coloring part may be even easier than the sketching part. The tricky one is only to make sure that we don't go in with the color we shouldn't like other buildings or in the windows. If a set six round brush is too big for you for your paintings, you can always choose use a smaller one. We have the line from the very beginning, so it at the same for buildings. So we are going to use vermilion red for the building upfront. A small orange red one. So dark her color up front. So episode. I've got here. Learn from my mistake because I forgot this part and then go in later and the color on the upper part is already dry, you can see it doesn't mix. In this case, I will just go in again with this color are still white and to paint this area again, so the color would be even. I mean, small mistakes or small things it doesn't bother me. I think it makes the nostritia more levely. But things like this, I want to correct it. Like this. And then on the other side, we said we want to make I want to make it of the set lighter than the phone set. Look like this. Next, I will go in with a small building on the left corner. I'm using deep green. Did we would draw the whole part of the window so we know where the color stops for the building. 7. Coloring II - the rest of the buildings: And then Ro Sienna for the building for the next building, like we talked earlier. This time, I'm going to use the red color. But I want to mix really light. This is too too dark. And then I'm going to draw these two. For the building on the left, I'm going to use let April coat combined with peach red. I'm going to mix this color a little bit together. So I got led apricot and peach red, and I mix it a little bit with a lot more water to make the color more light. Water. O and also on the upper side. And for the other building on the red side, I'm using the lemon yellow. Also, a lot of water to make the color light. It's so much easier if the color are still white. And for the upper set building, I mix the color Bong Siena and bong amber. And the last one on the left red corner I'm gonna use only bond Amber for the building. Yes So next I want to draw all the roofs. I'm going to use different gray for the roofs and also this metal part of this two building gonna be grey for me. This part a little bit darker. So now for the middle part of this two building, I'm going to use this two brighted I'm going to make the two Bighted part a little bit lighter than the lower part. And also, I think I'm going to These two are the same color, but still, I want to draw them individually. It's small. I like the look of a clean cut in my. I mean, there's not much. You can't see much difference. Sometimes you notice a difference if you draw it in one wash or different part. I will let it dry first. Then go in with the darker part because I don't want it to mix. I'm going to draw the next roof in the meantime. So the building up front, remember, it's not a roof which we look on the roof, is a front view. So I'm going to draw this one with a scarlet right. A And now for the two buildings in the back, on the left one, I'm going to use yellow ochre, but with a lot of water make it really light. Remember, we're going to draw a direct window with darker color on it, so the building itself should be as light as possible. So studs me too dark to intensive the color because the building are far from where we stand and it's far in the back, it should be really light. For the building on the red side, I'm going to use let April coat. We mix it earlier and now we're going to use only April coat Okay. Mm. So in the very last, the upper part of the tower, I used the same deep green like we used for this building down here. Yeah. 8. Coloring III - all the windows: So now we have all the foundation of the buildings, the green color. We can go in with more details. But first, I want to draw all the windows. I will color it with blue. In this illustration, all the windows are blue, only the building in the back, I change the color. And in the other illustration, there's also some orange to indicate the light from the building. You can decide which one do you prefer use different combination. But because we are already very colorful in the building's body, want to keep it only blue now, so it didn't be too chaotic. For the window, I'm going to mix a bit white to the color tamarin blue. For window, I'm going to use flatbush. But I don't want the window to be too dark. Okay. Now, maybe the window looks not so specular at this stage, but later we're going to add more details to give it more life. Mm. So now we have all the windows. 9. Coloring IV - some details: Now I'm going to use even smaller brushes, set zero to finish all the edges. The small edges, starting with these two with a darker green. And also on the right roof, it's a little bit darker to give it more depth. Then there's small edges. But for the part in the middle of the building, I want to use the same color as a building mil red. Maybe the color even more intense than the building itself. So it shows clearly there's something happening here. The other side. And for the building on the left corner, still the darker gray for the edges. Yeah. And there's two edges. The first one, I want to use the darker guy and the lower one, I'm going to use the same color with the building, but a little bit darker. So for this building, we use the colour osiena And the same decoration here. And the last edges burnt and burn the same color as the building, but a little darker. 10. Coloring V - 2 Buildings Structure: And then I want to give the building some structure so the building doesn't look so empty. These two we talk about there going to be a staircase in front of it, and for the building in front, I want to make this one and this one give it more structure. For this one, I'm going to a little give it bricks and this one just small dashes. We start with the right one with really right. I really love this color. And to make it a pop, the color have to be really intensive. There's no rule. Can you see it? As you mean a bit more. Because the color is the same color as a building. But more intensive. It and because it's small dashes, you can always change the direction if one doesn't suit you well. Actually, so small. It's not that important. Just remember we have to go the same angles between windows have to be even smaller. M. Mm. Because they're all very small dishes. There's no room for me. I didn't particularly pay attention to the perspective. You just go with the line that's already have, and I think it can't go wrong. Mm. Mm. So at the other one with bricks. A with the same color as the building itself. Don't amber for me. No. It could be really meditative doing the small exact repeat work. But I think it makes you more and more lovely. So the works are worth doing. I hope you enjoy the painting psssed so far. If you have any suggestions or feedbacks, please let me know. So now, almost all the bricks looks the same. So we can also go in and give several different bricks a more intensive color very randomly. And it's more lovely now. And go back with the same bricks. So now, finish with a wick. 11. Coloring VI - last 2 buildings with structure: So now I want to add more details by giving a brick structure, also to this and these two buildings. The same technique. We draw all the bricks first, and then we give several bricks more intensive color, so it looks more lively. Always the same color we used to draw the body of the buildings. So starting with this one, I used mid yellow. Mm. Mm. More intensive color for more structures. So the last one with bricks. And for this building, I combine the color Bong Sienna and Bond Amber. I'm going to use the same combination to draw the bricks. But the color will be more intensive. Also, don't too dark. Don't I can't add more structure later. And you must have noticed my bricks are not all the same. They are not clean in form, not all the same. I want it that way because then it doesn't look so stiff. M. And there's perspective. Don't forget it. You just draw I mean, if it's easier for you, just draw for the line along the windows like this and draw the bricks in between. Maybe to be easier to calculate the perspective. Most too light. M. 12. Coloring VII - all the window frames: Next, we're going to give the windows more details. Let me zoom in again. For example, or we can make some windows more darker than the others. So it's not all the same. We don't have to do it in all the windows. There will be too much. Just some details here and there, so it doesn't look too empty. In the illustration, it can be some reflection. It's just small details. I won't do it everywhere. But in some of them, Okay. So it looks more, lovely. Small details always make a huge difference here. It's so small, I would just make some windows darker than the other. There's no right or wrong, but I think either you change the whole window in a darker color here, what I did or you add some small details. I have some big window here. My reflections are bigger, but still it's a lot smaller than the window it is. If you make 50% of the window darker and the other one not, I think it for me, it's not that pretty. I like it small details. I think that's enough. As next, we are going to give all the fences of frame. But let me show you first. Like I mentioned, if the buildings look up front, we can give the window a whole frame, and if there's a perspective in the buildings, then not all around the window, there's a frame. We can only see some of it. So let's do it together. And for the window frame, I'm going to use grey or bunt amber. I put these two color here, not to mix, but to use them separately. I think, we just take it away. For the majority of them, I'm going to use burnt amber and the one on the left, I'm going to use gray to make the window frame. And I'm still thinking about maybe the three uses its own color like it's building, but we will see. Let's start with one on the left. The building is grey. I'm going to use the color grey to make the fil but the grey going to be a lot intensive and darker than the one I used for the building. To make that infect, you just mix less water in the color than earlier when we paint the building. There's basic no perspective, so we're going to paint the whole four set of the frame. I'm using the set zero round brush. Just make the window more defined. And if it's not straight line, it doesn't matter. I give a more loose feeling of illustration. Because I'm intend to as all the pencil sketches after the illustration, so we won't see the pencil lines later. Like this. And for the green building, I'm going to use bunt Amber for the windows frame. Give it a darker frame. Remember there perspective. We look this way. So I'm going to only draw three set of it. One in the middle. Let. Bond amber, I'm going to also use I think this one in the middle, the yellow one. Yeah, I'm going to use this one from the upfront window. And on the side, I'm going to do only three sets of it. This. Fine defined lines. Not all the line continue easily and not all of them are so straight. Just give the window a clear fime So what do you think so far? It's more coming to life now, right? I hope you think so, too. So now I'm already using the boned Ember. Have this one. And for the red corner building, can I use the same color. Also, this is a front building the building that we look from upfront. There's no perspective, so it's easy. We draw all four side. So like this. Some line are more defined than the other. Even the lines are not all the same. That's quite okay for me. Uh, so And the building in the back. Gonna also use bond amber for the window frame. Be careful of the perspective. I'm gonna draw three side of it, the upper, the bottom, and the left side of it. The upper part, the bottom line, and the left side. Like this. For the red building, I'm going to use black to draw the window frame. Almost all my illustration where a red building is. I use the black to draw the window frame. It it just looks appealing for me and remember the perspective. For the windows on the front set, I'm going to draw the upper set. And the left set. And the middle. That's it. Not even the bottom one because I think it's too much in the front. I don't want to draw the bottom one. And on the re set, I'm going to draw also the upper set, the re set, and the middle. So this it. I know it's not always easy to draw a straight line with a brush. Remember to breathe. I often just accidentally hold my breath too when I try to draw a straight line. Okay. Okay. And the one behind for the building behind it, I'm going to use the color mid yellow to draw the frame. And for this one, I'm going to use burnt amber, like we drawed with the other buildings. I want more contrast. Remember the perspective? A draw on the upper side and the middle one. And the bottom eye. Upper side. Straight nie I like this. And the last two. I already said on the red one, I'm going to use mid yellow, and the other one we mixed the color let apricot and beach red. I'm going to use the same combination but make it more dark. We look from upfront, so we are going to draw all that of it. Okay. I like this color combination. The last one? The last building for window frame. So now, we have all the window frames and we add details in the window. We're going to let this window frame dry so later we can draw the staircase. And in the meantime, we're going to working on the three buildings in the back. Oh 13. Coloring VIII - Windows in the back, staircase in the front and some details in between: Now, in the three buildings, we need to draw the windows. I'm going to start with the white tower. I'm going to use the color green to draw two windows here. In the middle. Two windows. I'm going to draw some small squares indicate the window. Now I used a different color combination here. For the left one, I'm going to use the color burn Sienna for some squares for window to make it pop. There's no rules. You can use at how much or little windows where you want. I I don't want to add too much window to give it more loose feelings. I would love to see you combinations. How did you comb the window here? And for the last one, I'm going to use the color raw sienna so we can cover up the ground color. Okay. Now to check, I think my window frame here is dro. I'm going to add. The staircase. Like this, I'm going to draw all the staircase upfront first, all of them, and then I finish them, I'm going to draw the one that combined them. Basically, I'm start somewhere in the middle of the window somewhere a little below the windows. Some noise in between. As the next one. No need to worry if your lines on our street, the space in between are not all the same. We have the whole illustration or more loose fitting. There's some window frame that line on no street. So if it's here, still North Street it fit the overall style here. So and you finish once we finish all the paintings, it is gonna matter very every little details. Now it's more present because you only see this part. But once we finish, it's gonna looks pretty. I know this two staircase, for this one, I try to cover the two windows or it seems like I cover the two windows and on the side only covered one window. I think I'm going to keep this there because the difference makes interesting. I think. Can both make sense. This have bigger apartments. I have two windows, and here with small apartment, it have only one windows. Like this. Then to combine it, remember on the side that we don't see exactly where it ends, but when it combined, it should be from the end of the staircase on the left side. You have to imagine where it's coming and then elongate it to the other one. M it's here. Like this. This one I choose to draw on the other side. Yep. And some irregular to indicate the steps in between. So detail. Yeah, like this. I didn't even calculate which direction should be and how much the space in between. I just go for it and it's fine with me. Now, if I move in the other illustration, you can see I also had some decorations on these two edges. Now we're going to add it to. You'll see the color green. Also a more dark intensive color. So we can draw based on like this. So small details so it doesn't look so empty up here. And see we have different ages in different buildings, and we can also give them a structure. And some dot dash dot here and there, because the roof won't be that clean. So some small details. So the inn doesn't look too empty. We add details, but remember they're just details. Don't overdo it. I know it's hard to stop. Oh, I won't do it. Like this. Some details. And then I think for the red one in the middle age and on this age, give it a structure. I'm going to use black for the red building. Very small fine lines in the middle. So here, the same color black. 14. Coloring IX - Sky and some last details: So for the sky, I'm going to use the color tamarin blue, but I'm going to mix it's very, very light. You can see my two illustration here. The sky both very light. Now, because the building block is already colorful and I don't want to make the sky more pop. It should be quiet and silence and still in the background to make the city block more pop. I'm going to make the sky really transparent as much as I can. But first, I'm going to make the papers white. Later, the color will run freely on the paper. Was more important is the space near the white towel because it's white. We need the blue sky around it to make it more defined. I'm going in with some blue. And the upper side when it go down, the blue will be more and more light. I like the transition. So I add more blue on the upper side and basically drag the blue colour down. Yep. Something like this. And There's no frame in the upper side of this illustration. So the sky can run freely. I don't like the hard edges stream line. T's a benefit that we drawed with water earlier, the color are still white and we can change it. Different shade of glue. Like this. That's good enough for me. I'm not sure if you can see through the camera, but this is sky blue around the white towel. Yeah, let's give the towel a free. Like this. Yeah, I can see clear there's a towel. And we wait till the sky to dry. Then with a smaller brush set zero with the color scarlet red, I'm going to give the roof only roof on color roof in our illustration structure. That's a sketch in the beginning. What I'm doing is I just don't here give the roof structure, something like this. And with a street line. Something like this. I'm going to give the roof a structure, and when I finished, there's also some contrast more contrast color. So something like this, I'm drawing here on the roof. If you see the Illustration in person, you will definitely notice the structure in the roof and all the small details add up, make it more interesting. There's always some details that people can explore and that's the fun part. And some color contrast here and there. That's it for this roof. And now the last part, we're going to finalize the details of the white, the green part. I'm going to use the color deep green, which we use to color this part. But this time, the color need more intensive than that. I'm just going to give it some details on the upper part. And once you sky is really dry, and you can give the last stroke upon the upper part. So a more intensive deep green like this. And some details here and there to define the upper part. Yeah. And the ski have to be dry dry. Then we're going to give the last straw. Thin and study. Right. Like this. And then maybe also we have already the depot in your brush. So also details in the building here on the left corner. Can you recognize it through Como? Just some details. Yeah. And 15. Coloring X - Finish: So that's the final result. From the sketch to finish. I really hope you enjoy it. I really love what we finished together. I think it's cute is totally me. This illustrations colorful, it's bright, it looks happy, and it's a city block our imagination. I love it. Please tell me how do you think about your illustration and our illustration. 16. Conclusion: Now the class is finished. How was it? Are you satisfied with your result? I'm so excited to see result. Please share it in the Pox Gallery. Now we'll all be through the same process. Let's share our experience together. I couldn't wait to hear from you.