Detailed Urban Landscape Painting: Melbourne, Victoria

1. Introduction: Hello and welcome. Urban landscapes are interesting and rich subject full of life, the perfect subject for watercolor painting. In this class, we'll be painting a detailed scene of Melbourne, Victoria for the princes breach. Be using a variety of wet-on-wet techniques, wet and dry techniques. We're going to start from the ground up and really how to compose, plan, and draw your landscape scene. Pencil first, we'll go through how to emphasize and emit areas in your reference photo is straight and more interesting and unique. Painting in this scene will use wet and wet techniques to paint the colors and soft details in the first wash. This can be a challenge for beginners. But don't worry, I'm going to show you how to time your brush strokes to create soft blended washes, to imply lines. You will learn how to gain control and they are effectively to create a soft atmospheric seen. It's easier than you think. Creating fine, sharp details are just as crucial when painting urban landscapes. It allows you to create shadows, contrast, and interest. But understanding when to add the mean is crucial. I'll show you how to paint common urban landscape elements, such as cars, buildings, and people. Excited to get started. So join me in this class. We'll be painting this beautiful scene of Melbourne in no time at all. 2. Materials Required: Before we get started with the painting, I want to just talk about some materials that you'll be needing for this class. And let's start talking a bit about the paper first. So the paper that I'm using here is 100% cotton watercolor paper. Now I use cold press or medium textured paper. It just allows you to get in softer sort of washes. The paper takes a little bit longer to dry and you get a bit more of this sort of effect here where the brush skips over parts of the paper. So much better to use. Some people use hot press paper, but I find that it's mainly used for things like portraiture or even florals. We just need to get very, very minute details in accurately with any type of landscapes, urban landscapes included. You want to stick with some paper with at least medium texture, even rough texture is fine as well. So allows you to get in the software looking clouds at the top. A little bit more of this sort of effect here on the ground. The blends just mixed together a lot more evenly. So make sure you get some of that. I'm using that in A3 size paper. You can also use an A4 size sheet of paper just depending on what you have and what you're comfortable working with. I'm just using A3 size here are about a quarter sheet because it's just a little bit easier to get in all these details, more details in this scene. Then I'd say another smaller landscape scene, urban landscape scene, where you've maybe got a few buildings as so much in here, I think it would just look better on a larger sheet. So pick something that works for you in terms of brushes. I have these watercolor brushes here, three mop brushes. And the thing with mop brushes that they hold a lot of water. As you can see. They have a large belly. So when you pick up the paint, it completely drenched the brush and you can get in large areas like the sky little bit with the foreground, with this darker gray here in the foreground, a lot of the yellow here in the back. What you don't want to use for those washers is something like a small synthetic brush like this because that's really going to be difficult to get in. Just a nice soft indication of those colors in the background. You want a lot of water and you don't want to be going back into your palette constantly. Okay, So these three brushes are fantastic for most of the work, and they have a sharp tip as well, which allows you to cut around all the different shapes. E.g. you might add an image of the skylight us, you can cut around or the yellow. You have a tip that's just really blunt. It's gonna be hard for you to do that and we'll start to blend. So again, as I mentioned before, it little round brush, small brush. This is good for details. So if you look at these figures here, this lamppost here, a bit of the details of the windows on the buildings. Really good for those little details. As you can see, it doesn't pick up much paint, but you don't need it too, just for those finishing touches and small details. Same goes for this one here. It's a little flat brush that I use small details and also helps me to get into some of the shadows of the buildings are fine with this small flat brush. I can get in sharper edges here for the shadows. So just a little thing. I mean, not everyone uses these flat brushes you can get by with just using these ones here. And keep in mind as well that you want to be using the largest brush you can in order to get in a lot of these, a lot of the washes, just as long as you can still around and still make sure you preserve the small details. So e.g. if I was painting this sky, I'll probably use this larger brush or even this medium-size mop brush here. This one would just take too long. It would be smaller and wouldn't hold enough water, so use the bigger brushes. And as a rule of thumb, you try not to touch the paper as a 2-Opt too often there's just as much as necessary to get in. Your subject. Here are some colors. Now, I'll go through what colors you need. Now I've got here a little bit of this turquoise see color. If you don't have turquoise, you can actually mix them in yourself with a tiny bit of ultramarine blue and a bit of yellow ochre. Okay, I've got a lot of these yellows here, so yellow ocher. I've got a Quinacridone, yellow, couple of oranges here. This is power or orange. This is a pyro read, quite a bit of buff titanium, which is just an off-white color. Cerulean blue, very important for the sky as well. Of course, ultramarine blue. Couple of these brownie colors, I think I use a little bit of that in that building here at the back. Huge difference here doesn't make much of a difference if you have those whole bunch of purples over here and a bit of neutral tint and a bit of black as well. This is lamp black or lunar black. So not a whole lot of colors really that you can be needing for this. It's just got some yellow ocher, some of the bluish, grayish color here for the background buildings, more of that yellow ocher there. And I just mix that in with a bit of the quinacridone yellow at times to increase the saturation in areas of interests, e.g. with the station from the station here, I like to put in a bit more saturated color in there to just draw attention through that region. Now, if you look at the tops of these figures you notice, and even here in the labs and things, a little bit of white. I'm using a little tube of white gouache is an opaque white watercolor paint that just allows you to get in some finishing touches, some little highlights right at the end of your painting can see how I've used it a little bit all over the place and I find that it's easier for me anyway. I don't want to ruin a nice wash just to cut around little bits and pieces. So if I have a little bit of white gouache at the end, accomplishes the same thing, but you want to be sparing with that as well. So that's about it for the materials. Let's move on. 3. Drawing: Let's go ahead and make a start on this one. And it's quite a complicated scene. But one thing to remember is all the buildings in the background. We're mostly just going to get them into a large silhouette. I'm thinking I'll probably go ahead and get a light source coming in from the left. So maybe some of the buildings in the background will have more light on the left side rather than the right-side diverse shadow on the right side. But apart from that, I'm going to try to get more in one go. But first things first we want to put in this area of the horizon line just where the buildings finish off. And I'm having a look how far we've got. How far it is basically below the center of the scene. So we've got the center and I'd say around about here. And you can never be completely sure. You can always change it around as well. Don't feel like you have to abide by the reference photo exactly. But I'll estimate it to be roughly about here. And this is where I will pencil in this little guiding line. Like this. There's enough, enough there for the cars and things like that. I might also getting a tram perhaps in the background and make it more Albany. So one thing I can see now is probably the easier part here is we look down the center of the scene, maybe to the right-hand side. We've got this line here that just extends the front, almost just indicating it is indicating the foot path. And there's also just over here coming out in the corner and going all the way into the it's hard to say really isn't one in the back but it's near the near the back somewhere down here. There is fence. Okay. There we go. So I'm just putting in a little few little indications of that like that. I don't want to spend too long on the drawing, but at the same time, it's quite important to make sure that the drawing is, has a level of accuracy in here as well, so that you're not fussing about later on and trying to figure out where everything is. Now as all these kinda colored know what these are. They're kinda like colored booths or something like that. Whether I get them in later or not, It's we'll see how we go. There is a lamp here because this is just like a It's an old street lamp. Couple of them here. Okay. Just a quick indication of them off in the distance like that. Make them a bit straighter coming down like that. Okay. And off in the background, I want to just get in this kind of building here. It's actually goes all the way up on top of these lights like that. And I might actually chop out part of that stuff on the right-hand side or we can also reduce it down, just change up the shapes a little. Always remember you don't need to follow the reference photo exactly. Okay. There's one here. It looks like there's some type of building and then another one here like that. It just simplify some of these down. Like that. There is a building on top here as well. Again, I'm just going to get in a rough guide of where it is. On top. You've actually got. And this is a cathedral in the background. So on top of this rectangular shaped buildings. So I'm going to put it in first, roughly like here, rectangular shaped building. There's some windows there. No big deal really. And actually over here you can see Start little section of a clock tower. It's quite difficult to pinpoint exactly, but there is a little clock tower there. And why not just put it in there? Quick indication of it. Like that. It's mostly obscured by trees and things like that. But I do like the fact that it's hinted at there. I will make this building a little bit more three-dimensional as well like this. Make the side of that building just come down so we can see bit more, perhaps the light coming off it. Let's have a look on top here. We've got this large shape. And this is really the, The Cathedral. And we're going to indicate parts of it as well, this top part. And always remember to leave enough space at the top of the scene. You don't want to be spending well, you don't want to be drawing all the way to the top of the paper. It just looks funny afterwards. You want to leave enough space at the top and the top of these spires, there's like little bits and pieces sticking out, okay, but just think of them as triangles here as well. Look, you've got these couple of little windows up on these on these spires. And so I'll just indicate them like that. Nothing too difficult. A lot of this stuff we will eliminate any way. And getting with the watercolors in one big wash, you barely see the pencil in there at the end. Here we go. Another one. This one just kinda goes up roughly about here. Notice how I'm holding the pencil right at the end as well so that I'm not overdoing it. It's one of my little tricks. I try to hold the pencil at the end so that I don't get too precious about what's going on. And there's, of course, lots of these buildings and things in the background. And I'll simplify them down just like that. Okay, That means a lot, even this one here, there's some kind of some kind of building in the background, this tower. So why not? I'll just get that one in like that. Apart from that, I think that should be good to go for the buildings. On the right-hand side. Again, this clock tower photo, three, rejig data touch that. Now we've got people just walking into the scene. So it's quite important, making it look more realistic and lively. Of course, here we have some people. Okay. Couple of them just in the background, change things around and make their legs go off on different tangents. Here's someone needs to the road perhaps there. And another person here in the background. I think making, getting the heads, the heads and the body are the most important part. The legs you can get away with afterwards. Here, I thought why not put a figure that's closer to the front of the scene like this. And coupled with legs leading in going into the scene perhaps. Now we can do the same here. Just get another figure that maybe they're walking towards the front of the scene. Looks a bit funny. I redo that. Go. Couple of figures. This man, I'll make it a bit darker to make sure that these two figures come forward to touch. Okay, so we've got a couple in there, got all these figures off in the background. I think the good thing is also these figures will serve to create a shadow. On that right-hand side. I'm still deciding how to put the shadow in. And also with the cars. There's gonna be an issue with that too. Not an issue, but a decision that we need to to make with this. So whether I make it come off on this, complete the right-angle, I guess, or more towards the back or the front. I think it might actually look a bit better if it comes off like this. A bit towards the back, to the right and back like that. That's nice. Kinda like this. Often a slight angle. Okay. Now there's of course all these little branches and things here on the side or whether I want to get these all in, but look, let's just try it. There's one. These have only been putting recently. Mind you so before there were nothing here, just just road and they had just a few little clips. They be nice as well. They just indicate part of the part of the perspective. This person here could just be kind of behind one. Like there. This is also going to be good to indicate some sort of shadows as well. Okay. And we've also got cars just to see if I can put one more in the back like this. I'm not gonna be much, something like that, but we've also got cars coming into the scene. We imagine that's the vanishing point. All these lines running directly towards that vanishing point here in the horizon line. And we can get in a car here, this is the front side of the car, perhaps. Let's just put in That's the bonnet like that. Then we've got the wind screen like that. Top of the car, the side of the car like this. Okay, simplify down and comes off, comes towards the back bit of a, something like this. Is the wheel. Here's another, here's another, we'll just having a look to see whether this is too big as well. Reduce size of it down slightly. The front of it here and side of the car, their area of a car shape. A bit more of that. We'll we'll off in the back front part of the car is these little grills, I guess here. Lights, something like that. This will form a bit of a shadow as well. Just moving towards the right hand side of the scene. A little bit of a shadow there. Headlights. It's quite dark underneath that car, so we'll leave that to later. I think I've been messing around with that too much already. There's another car here. Let's just getting a simplified silhouette of the car like that. A couple of wheels here underneath bit of a shadow running towards that right-hand side. Shadows will be quite nice on this one. I think just a bit of a pattern. And I'm also thinking to myself, why not getting me perhaps like a trim or something in here? Like off in the distance like very Melbourne. Very Melbourne like but a tram, just a square part of the front of it like that. And then you can just make it go all the way back like this. That kind of hiding behind that car. And that some of the side part of the tram there. Okay. This will also create a bit of a shadow on that right-hand side. Like that. Just make it a little bit lower. It's not gonna be too too high, given it's quite far back the distance. Okay, there we go. Quick little tram back there and another car here. And I'm doing all these cars and stuff, everything in the foreground first because it makes it a lot easier. Then essentially doing it afterwards, you're not having to go over the top of all the bits and pieces. Quite tedious if you have to draw or paint over the top of everything else. Here is the back of this other car. Just getting an indication of it like that. The Windows seen from the side, the back of the car, their will. And then we've got a wheel here and another wheel here. And there we go. Front side of the car. Again. That shadow running to the right. We now have to make sure the shadows are coming off in the in the right direction to look at this car, I'm not satisfied with this. I just lower it down a little bit more like that. That's better. There's also like another, the wheel of it on the left-hand side here. You just see it there. Okay. Good. So let's go ahead and get into buildings now, on the left-hand side, which is essentially all that we have left. And of course, the station. Which is the most important part of this scene in my opinion. Okay, so here we've got this little archway and this actually leads down into the water. Some stairs next to it. It's just a little archway like that. There's more, some more bits and pieces here, but that's more so just background stuff. Even see like a little some more of these lights as well. Like that, which we'll get in later. Okay. Lots of these areas, the fence as well that you see off in the back. Okay. I think I'll actually get the scene with a bit of shadow on the right hand side. For this, this side, just to again emphasize that light. There's bits of detail and things on the roof, but it looks something like that is sufficient. And of course, we have this rooftop of the of the station. I want to just get it in straight like this. Oops. Not doing so well today with my lines, straight lines like that. Coming down here, here, here, here like that. And what we can do is just essentially getting this whole top of the station running all the way into the background behind that tram even just ended off around about there. Okay. Let's get this one going down a bit more as well, gets thinner as we move down the page to center. This one. Straighten that off, attach there. Okay. Packback car just candidate, darker like that. So we've got a whole bunch of things back here. It's so tricky to figure out what's in there. But at the end of the day, we have perhaps some cars. So we can get in some some indications of cars and stuff like this. Just going off into the distance and underneath this area. Sometimes you also got people perhaps off in the distance, are just waiting to cross the road. You know, maybe just walking around in this simplified down, put in some figures and be on your way. Don't spend too much time on that. Remember, it's just the drawing we want to do, all the detailing and the paintbrush. Just gonna quickly modify this attached to make it look more. I felt left just feel that this car is should be more angled like that. Then we can just get in the front of it. Almost looks like a more of an older car. This way. Area. A little bit better. This is all going to be quite dark underneath it as well. Yeah. I think that looks a little more. Change the back of it as well. Rejig it. This, you want the wheels to line up more. Front of the wheels will be within inner part of the wheel. Then I'm just going to join it up here. And here. I'm in the back-end as well. Okay, that looks better than before. It's just a bit more better perspective on the wheels there. Then need to just end up on that same point of the same point here. Okay. So let's go ahead back into the buildings and I want to put in the station and I'm actually wanting to enlarge it. I'm thinking to myself perhaps just a slight make it a little bit bigger to emphasize the station more. It's just a box on its side. Just remember, you're drawing a shape of a box at the end of the day or maybe sitting on its side like that. This one I've made sort of come down a bit, a bit far. But you've also got other buildings and stuff here in the back. Will be jig this a bit and change up some of these buildings. I could be willing off in the background like that one here. Okay. Just make them go off in the distance and disappear. Kinda thing. I've changed it around a bit because I've moved the station, they're closer and enlarged it. Just a personal choice. Good. Nice section. This whole section here is, you can see on top there's a bit of a dome. A bit of this smaller dome, like this. Cooler colored dome with another, it's sitting on top like that. Scribbling this in a kind of arch way or something underneath like that. Just a bit of the work, the architecture of the building. It more here below as well. Okay. Where that's one of the domes. Small one. And I'm spending a lot of time on this to make sure that I've got in enough detail. I don't want to have to go back and later, especially when we're painting and decide where everything is. Because this is such a crucial, crucial part of the of the scene. Okay. Okay. Just getting another pillar or whatever. Hear that. Good. Let's go and get the large domain now starts roughly amigos bit sticking out the back there. But apart from that, it's as a base here and then we've got coming in like up here, it finishes, it finishes significantly higher, almost twice as high, maybe like here. Lengthen that attach and then it finishes roughly like that. Okay. The top of it, you can see it's kind of just this section like this. The Australian flag just waving at the top. Okay. Just kidding the dome a bit better. Okay. And again, I have I've definitely emphasizes quite a bit, made it larger than what it looks like in the reference. Okay, But that's, that's something I wanted to do to further just draw attention to it. Kind of should be bit more bulbous. Minus that should be okay, that should be a good starting point. I don't wanna get too much into the nitty-gritty and all the little details of everything. Okay. I'm just going to get in and actually lengthen this building out a touch. Make it a bit taller. We've got silhouettes of buildings and things off in the distance like this one here. And again, it's just a matter of picking and choosing. What you want to emphasize in here. I don't want to I don't want to spend all day doing this. Oh, that will just be a big Silhouette for later. Accidentally got rid of some of this stuff by rubbing my hand over it. Well, drawing and fill in a bit more of it. Some trees and things down there at the base. Okay. Let's have a look on the left-hand side now I'm just gonna get into some of these little window like seeing these window like structures, they're the side of the station. I mean, all these buildings quite over the top really. So much, so much to get in there. And you don't want to overdo it as well. I think some of these buildings in the background that'd be kind of lighter like this building here. And this is going to draw our attention to the darkness that I'm going to create on the dome. Or at least a bit of coolness on the dome. Let's just want to put in here. Now the skyscraper. There's a row of buildings at this point. You are just for me. I'm not trying to get in exactly what these buildings look like just because I know they're going to be mainly a silhouette. And a side piece to the rest of this show that's going on. Here is that a larger building here goes up into the sky. This is Unit three per unit. Ellipse that out, get that to come down more like that. This one as well. All the way down. Like that. We've got a few more buildings and skyscrapers over here as well. Let's get this building in here. We go down to the base, like this is more buildings and things as well like this one here. That's a building. Another one here. There's a lot of stuff going on in here and you're not meant to foster about too much with it. Okay. Let's have a look another bit here. Another building there. This stuff is just going to disappear at the end of the day into a silhouette. And I think we are ready to go. 4. First Wash: Okay, so let's get started with the painting and the first thing I'm gonna do is get in warp on the buildings. And the reference photo, really, to me, it just looks like quite an overcast day. I want to make it look a little bit more vibrant, have some sharp edge shadows in here. So that's kinda what I've done with the car before. Just put in a few more of these extra shadows in some places, just guiding my way through the scene so that we can have a bit more variation in what's, in what's going on with the shadows. And basically I just want to imply and tell the story of a sunny day in Melbourne. Okay, so let's have a go at this. I'm going to pick up a small little brush like this. This is just a medium-sized mop brush. And I'm gonna go mixed myself up a bit of yellow ocher. Yellow ocher. I'm going to go straight in. I'll probably start around here. Yellow ocher. And also there's some burnt sienna back there. I can put in a bit of that burnt sienna in there as well. That's going to be good. That's a little wash of this yellow ocher to start off with, is a good, good point of reference. That's Spire. And this is what I'm talking about when we were gonna go over all of it. Anyway in the watercolors. So you're drawing needs to be accurate enough to do this, but at the same time, you don't have to spend all day with it just enough so that when you go in with the brush like I'm doing right now, we can tell where everything is. Okay. This is a bit of brown bit of burnt sienna. Here. I'm just dropping a touch while the paint is still wet. Let it do its thing. Okay. Let's have a look at these buildings out the back. And I'll actually do this building here in the front first. Connect that up to touch here. And a lot of this stuff, I'm just going to get it in this yellow ocher color. This can be the golden hour, I suppose. It's kind of golden hour. Scene of Melbourne. And cut around those figures, a touch in the background. I'm not a huge, huge deal, but touch of that, put a bit of red in there as well. You can see here all these little buildings and things in the background actually gonna be, I'm gonna get some of them in with a cooler color. But the ones in the foreground. One not just getting a bit of the same yellowy color in there. Okay. I wanna make sure that I've got that stuffing. First, the yellow. I'm gonna put in a little bit of this Quinacridone yellow into the, into the station here because I want it to look a bit more vibrant. And it's kinda one of the first things I do where I just saved the most vibrant colors and concentrations for my main subject. So just get that in like that. It's kinda nice, golden, beautiful golden color to it. Look at that like this. And some more of this here. I'll just shift a bit of the paint up here as well. Okay. Near to the tops of the domes Like that. Okay. It's pretty pretty light. Okay. I'm just putting a number is putting in a touch of this color, a bit of this is just a little bit of purple. I thought I'd want to just drop in a touching here quickly. Mostly we're just looking at all the dark colors. The light colors, sorry. Okay. Here in the background, Let's put in some more of this yellow, maybe a bit of, I've got this other color here, which is called buff titanium. It's just stay lighter, yellowish color. And the goal here, guys, is just to getting just to get in a quick indication of all the lighter colors. You can see here as well. I'm just paying the top of this, the top of the station roof area. And I'm using that Buff Titanium, which is like an off-white color again, for this section, here, I've just started to drop it down back into that yellow ocher and working on this part. Okay. Good. I'm going to actually put some of this scene. We read this yellowing underneath as well. And this will just create some extra contrast, contrast and interests in here I'm going to go over, I'm going to add in some extra, a lot of dark in there anyhow. But we need something in there, some kind of color that will make it more interesting as well. Okay, So all these buildings and things out in the back, we have to address these at some stage now. The top of this roof is a kind of a greenish color. It's almost like a greenish blue. Okay. I'm not concerned exactly what color it is. I will put a tiny bit of green in there. But the main thing is that I just want it to be a bit cooler, a little bit cooler than what we have. Initially. It's dropping some of that color. Swap to a smaller brush, smaller, smaller one. More of this ultramarine as well. Maybe. Just coolness. That's what I want in here. Okay. I'll let it sort of permeate through do its thing. Some of it will mix downwards into the yellow. Touching go. Backwards is all kinds of stuff in the distance. I will pick up a little bit of slowly and blue and a bit of kind of this purplish color that we have on the palette. I've got some purple. This would work well, just very, very light wash of it. And the point here for me is just getting into buildings, little silhouette of these distant, distant buildings. And some may interact with the yellow and stuff in here, doesn't matter, just continue on. We want to make this a really thin color almost I would say it's almost ten per cent paint. 90% water. Some more blue in there. Just to get more of this is effective. I guess this general silhouette effect. Okay. I want to encourage some of it to blend downward into these areas that haven't dried yet. In this area here where we've got the church chapel. You notice I'm just cutting around a little bit of that area so that there's a bit of white expose that kinda helps. And having a look, what else we can do around here. I'm just thinking to myself. I could just get something in here. Little indication of a building and the distance like that. Every, everything else here for all follow that same pattern. But this building here is kind of like a yellowy color. So dropping a touch of warmth in some of these areas, it doesn't matter. The big thing is just making sure that we've got large shape for these buildings running into the background. That's the most crucial thing that we need for the scene. I have to darken that dome a bit more as well. Afterwards, sticking out enough. It's more of this yellow. And again, just forming a sort of silhouette off in the distance. It's all should kinda combine together nicely. This washes like a purplish blue wash, but very light still. Okay. The sky is going to be lighter though. Before I get into the sky, I'm going to just put in a bit more paint down below. I'll give this a quick spray, a touch just on the whole thing quickly. And sometimes you can just flicking a bit of water and create these little, tiny little droplets. And they create these sort of, how should I put it? These tiny little blooms that make it look more interesting? Okay. So do that. While that's going in there, I'll add in some more paint in the base of the scene. And again, I'll be using the mop brush for this, that medium mop brush for the ground. I'm just going to use a bit of this grayish color. It's basically just some tiny bit of the lamp, black or lunar black mixed together with a bit of yellow, kept cutting around the cars first. Very, very light. I don't want too much paint in here at all. You're just thinking of maybe five per cent paint, the rest of it's just water. Okay. Cutting around. The main thing is keeping those wind screens illuminated. Lot of lot of water in this mixture. Want to keep it that way. Underneath the car here. Good. Just spread that across right-hand side of the scene as well. Give it a quick spray to just even it out of touch as well. Okay. The biggest mistake here is to go start. I'm going to dock. This is the loudest part of the scene besides the sky which are getting right at the end. Okay. Around the bottom, I like to actually put in a little bit of extra darkness just on the edges like this. Another thing we could potentially do with getting a shadow for coming in on that on that side of things. It could be from a car or something or a truck off in the distance. On the side there. Whatever just something like this might be. Okay. But for the most part I'm just going to leave it that same color, same tone. And let's go into the sky. I'm going to pick up some cerulean blue and mix up a whole lot of this stuff. I want it to be very, very, very, very light. And let's just go in. So it takes to get a little bit of cerulean blue. It's mostly just, I'm just water. It's so light that you can barely tell. It's, it's, it's there. It's gotta be lighter than the buildings and the far back. So if you're wondering how much paint I'm using, again, about five per cent paint. The rest of it water. More than enough. Okay. Bring this down. Careful not to blend all the edges. Some of it might blend, not a problem, but don't blend all the edges together. And because that area has started to dry off, it's not gonna be too much of an issue anyhow. Okay. But you've noticed I just leave bits of white in areas, especially around the edges of some of the buildings and that serves to create some, some boundary. He is a bit of the white, they're a little bit of that boundary. Okay. I'll think I'll also add in some clouds, but just getting this preliminary sky wash first here, bring that down the buildings on the left is going to be a little bit wetter because we have only just painted them. So just be a bit more careful with this wash. But you shouldn't have too much issues, too many issues, something like that. Okay. I don't want to put in a cloud a larger cloud or something at the top there. I'm tricky question. Getting a little bit of purple up there, a little bit of a purplish Cloud maybe. Starting here. Let's try that out. Yep. Looks fine. And how I do this is that I pickup bit of that purple dry off the brush. Still water is I pick it up but it just starts to dry off as I put it onto the brush. And then I just use the edge, the side of the brush to get in these larger cloud shapes. The sky, I want to make them too dark as well. And also I don't want to spend too much time fiddling around on the paper. This is just touching go exercise. You'll get smaller middle indications of clouds near underneath as well. So that's something you want to play around with. Too dark. Just to create a bit more interest in the sky. Personal preference. Bit more cloudy. It's typical Melbourne with all the clouds. Anyway. Starts to look decent when it starts to look. Alright, we feel like it's starting to take on that appearance of clouds. Suggest you stop. Let just, just leave it because we want to preserve most of that light in the sky. So let's give this a quick dry. 5. Second Wash - Buildings: Now for the next step, I'm going to pick up a small round, smooth flat brush. And this brush, I'm gonna be using it to get in most of the shadows. And again, just changing up that reference photos so that we've got a little bit more darkness on the right-hand side of these buildings. So let's go ahead and get this started. And I'm going to mix myself up a bit of purple. Also got a bit of black here on the palette, bit of purple, but a black and a little bit of ultramarine blue. To create myself a nice, dark, juicy sort of color. I can always mix in a bit of brown in there if I feel like it's too cool. Just a dark color. And I'm still using about 50 per cent paint and 50 per cent water. This allows the paint still remain fairly transparent. Okay, So where should I start? I'm actually thinking of starting. I'm going to start, start right here in ground zeros. So put, I'm going to put it in a bit of shadow here on the right-hand side of the station. At remembering that the, one of the most important things of this entire scene is this really nice golden color that you get as well. So I don't want to eliminate all of it. We're just wanting to put in that shadow. Okay. Something like that. Like that underneath the building. As you can see, there's just little potentials for shadows like this. Light sort of bit of shadow there. Notice how it's still fairly, It's still fairly light. Right here. There's this tiny bit of this little opening there just getting a bit of color like that. A lot of this stuff I'll actually, once we get into the full range of tones, all the darks as well, it's going to start looking quite good. But for the time being, I'm just trying to find myself some little details that I can bring out like little detail here on the the top of the dome. This is to indicate a bit of shadow on the right-hand side of the dome. Okay. Just like that, not much effort put in there at all. The touch of darker colors. It's just so much like a bit of purple that I found. And just dab that in the right-hand side of this dome. This one, more on this side. Like that. To create a sense of darkness. Here. It running in the background as well Does it would be good to just darken that off to touch on the right. Good. Okay. So we've got a bit of detail in there, and I'm just putting in a little bit of detail underneath the top of the dome. You see this like little bits of railing or something like that. We do get some of it here as well. I'm using the little point on the end of the flat brush in order to, in order to do this, to add in these little details. Little bit of darkness on the right-hand side of these pillars. Again, just to perhaps indicate the shadows. Okay. I don't have a particular reference for the shadows, so a lot of this is, in a sense just made up. So we have to be a bit more careful with the values and making sure that we've got enough of the darks in there. But not too much, so that it obscures everything else in the scene. You can always go back to it later as well. You get these little windows and stuff he is well, look at them. They just overhear just popping out. Okay. Let's get in a bit of color, a bit of the shadow for this side of the building as well. And I'm gonna just again use that edge of the flat brush. And I can get in nice little indication of a shadow here. This is just using bit of black and purple. So I mentioned before. The orange, yellowish color that you see, it actually compliments the purple a lot better. A lot of them just sort of join together. Actually. I'm taking a bit more clear here because I only want to do it in one go, perhaps a bit more purple. And look at how I'm indicating the light source coming from the left-hand side by doing this as well. Okay. Going further down into the ground, I actually darken it more at the base. Here, there's actually a lot of stuff going on and there's even some greens, like some greens from the trees back here. I just dropped in a little bit of green, tiny bit of that. I don't want that to contaminate my palette and make everything green. So I'm going to just quickly get that in. Already accidentally got something on the right-hand side of this building. Don't want. Doesn't matter. I'm good. I love using purples in combination with yellows really brings out the beauty of the yellows. Here. I'm just going to put in this, I mean, it's, it's a clock tower but you can barely see it. It's just a little something, a little blip in the distance. Just could be anything really. And again, moving over to this building, Let's get in some darker colors running through it. This another thing we can do is even get in a slightly softer shadow. Give it a spray. I cannot see that. Paint start to run a little bit. The trick is to make everything merged together and make it look natural. I want some of that yellow to show, show through behind. This is amusing, extra contrast down the base, as I mentioned before. To get in. Just as cutting around work for the figures. Let's have a look. What do we wanna do for this section here? I mean, there's really, there's like a fence comes all the way up to the foreground. Can just do this at the moment and connect it up. I want it to look too perfect as well. It's tricky part, really just indicate some of those bits there. Good, Good, Good. Join that on like this. Please just join onto the back. We don't have to make too much effort there. We've got these three I don't know what to do within these three little bits and pieces here. And I think actually, by emphasizing them too much, it's going to draw attention from the rest of the scene. So I'm going to get rid of it and just go with this purple here. Bit of that purple getting the other side of this section. We can also, we can even leave in a bit of that white if you want a touch of that. They're just another section of the fence behind simple like that. More of this one here. This is just again purple and a bit of black mixed together, emphasizing this shadow on the right-hand side of this building. Here. It makes it so easy when you're using the flat brush. Anyway, it makes it so easy to do this. I'll get in this one as well here because it actually creates a bit of a shadow. Shadow, but like a emphasis of the light and that building negative shape off in the distance. Like that. It looks more effective that way. It more. Shadow on that building C, the right-hand side. Just repeating this same structure. Same pattern. I mean, everything I see off in the distance top to get it all in exactly. But also when it's so far in the back as well. You just want to blur it off a touch. Not too much detail back there. This one here is something here as well. Just get into a bit of that darkness on the right-hand side. Playing around with a few more. Between here I'm thinking whether I want to actually darken these buildings off rod and the distance. I don't think I'll play with that yet. Uh, work on something here first, just the bottom part of the scene where we've got all this darkness for the underneath the roof top of the, of the of the station. Just like that. What I've realized is this is actually the tram of forgotten. Then I put this is trimming there. I'll soften just dark and soften this off. Okay, so we've got the side of that tram kind of creating a bit of a shadow there. Darkness on that right-hand side of the trim. Bit of purple maybe in there. That says all just gonna be shadow running across the ground. But over here is the real sort of dark bits which I can just start using some of these lunar black or whatever black that you've got. You can also pick out some other colors, some other. A, dark colors can mix up your own using your three primaries. Just mix the primaries together. You can mix it. Also some blue and a bit of brown, dark blue and black dark brown that creates the same really dark color area. That take your time with this and try to find areas that you can indicate some detail like e.g. look here. I can see some kind of I don't know, something underneath the rooftop. Lighter texture part of the roof just indicated a touch that you can leave bits a yellow in there as well. Cut around the figures, the people underneath this. And the cause. Most importantly, we're going to cut around those. But notice how I've left in that that yellow in the background. It makes such a difference. Okay. Why is all getting part of this windscreen for the tram while I'm here as well. Though it would have maybe a bit of blue in here. The windscreen just touch on a bit of this cerulean blue. Mix it in like that. Just basically creating a negative shape with the tram. Let's work a bit on the buildings or to the left-hand side. We've done a lot of buildings on the right hand side, so just some more bits and pieces on them. So this one here, I thought, why not getting a little contrast and the right side of that building here. Not too much, just enough to make it darker. Ruffle it off a touch like that. What else do we have even on these buildings, we can just, why not put in a touch of color on the right-hand side of these buildings. And if it's too much again, just soften it off. But it creates a more realistic look to the buildings and emphasizes that light source coming from the left-hand side. That's why I'm one so keen on doing this consistency. And that's getting this side of the building there. This side here. A bit more of that. Purple running through in the background is very light purple, but nevertheless, it creates a beautiful contrast with this yellow being a complimentary color. Let's have a look. What else? This one here, Let's put in a bit of purple in here and drag that down. Notice how soft or making that color off in the back, a lot of water in there so that it doesn't overpower it doesn't overpower the scene. If you make all those buildings in the back too dark, it's just going to bring them forward so we want to make them lighter. And the ones in the foreground touch darker. And it creates this sense of increasing and decreasing complexity as well. Some more. This one interesting thing about these buildings here as well as that they form a little boundary with the top of this the top of this station. So I'm in client actually make them a bit darker to emphasize that. So that the roof just sticks out a touch more. And Matt. Yeah. This is actually another part of the dome. I'll get it in just a quick indication of it's not my opinion. The most important part, the scene, just the one over there I think is crucial. Oh, just getting a few more of these parts. As usual, I might actually just combine it, just create this isn't a one big building like that. Again, this will create more of this feeling of sharpness on the yellow part of this rooftop as well. Here, just move this down like that. And maybe a little bit of this building here, touch of the touch of that darkness running down the page. K. Smudge it off in the corners. Don't want too much contrast over there. Okay, Let's have a look a bit over here. Now I'm going to pick up some of this purple and put some of it in here. This is for this she call it middle area. Underpass. Like that. Actually should be a lot darker on this right-hand side like that. Just putting a bit of extra black in there. I want that to be a little bit lighter here. And, um, kinda join onto some of this stuff in the foreground. Midground, really. This will also cut around the car bit trading Beethoven, a negative shape. Anywhere that I can create, overlaps of negative shapes. I'll do my best to get that in. Okay. Okay, so having a look through the scene, I'm thinking the buildings in the background almost done. Another thing you can do is like getting some of the flaws of the buildings off in the background. So some of these stuff, little bits of line work can help. At times. You can even put in some quick indications of like Windows. I think some of these would look better. Some windows or something and some broken on all of them, but some broken edges for some of the flaws and stuff like that. That just touch and go with the brush. Not too much effort in here. Just touching go. I find the less time you spend in there, the better it, the better it looks. Some of these windows are not really that dark and that's why I'm putting some of them in now because actually getting all the really dark colors right at the end. This is just something to keep us. People's interested in those mid tones. Draw out some of those mid tones. Background buildings. It's probably not too big of a deal, but now you can still do stuff like this. Okay. Depending on how detailed you want to be. There have been a bit of color and in a few little dots here and there. This is that dome. Quite crucial. And I think for the end of this scene, you might need to make sure that we've got enough detail in it. So got some lines running a Clorox to indicate like the architecture of the architecture of the building. Doing it here as well in the main sections. Because it's so light, you can barely tell what's going on in there. Just a little bit of quick lime work that you'll be amazed at how much of a difference it actually makes to your scene. It's mostly just water in here and a little bit of purple. And I've made sure that I've dried the brush off significantly as well before I do this, so that we're not we're not faced with them. Too much color, too much darkness in here, trying to create a little bit of contrast here with the rooftop underneath. The little bit of contrast. I can get in line or something like that here. Even this part of the rooftop do with a touch of darkness just underneath like that. Too much. It's okay. 6. Second Wash - Foreground: Some more color. And again, just putting in some of these light, little indications of the perspective of the building. So light that hard-pressed to see exactly what's going on. But I'm looking at, I think it makes a difference. Some of these hard edges here as well, we can just soften off. Soft enough, something like that. Scratch off with a bit of water to join it on better. He just hard edges sometimes in the wrong place can draw attention where you don't want it too. You don't want the viewer to be looking for spending too much time in. So when I see some of that, I'll just quickly scrub it off and address it. Stuff in the corners. Not a big deal. Don't want too much tension on that side. Spent a lot of time with all this other stuff. Let's go into the foreground. I don't want to get in the final shadows, bits of color on the figures. I'm going to put in some nice cerulean blue for this one. All I'm doing is just putting in some really light, really light colors. This one I'm just getting into this milky color. At the top, I guess the clothing or the figures. As you move into the background, you really it's hard to tell exactly what color clothing that they're wearing, just me. I'll create a little bit of darkness maybe for the back ones. And I'll make the ones in the front a bit more lighter. So that there's a nice contrast there. Here's some more figures, some figures in year two, forgotten about them. Over and over in the background. Oops. The car, the color of the cars is also. We need to look at a bit more. I think I'll go I'll go cerulean or yes, cerulean, blue, turquoise see color for this one in the foreground. So I'm going to just get in the structure of it like this. Light blue. Remember, there's actually quite a lot of shadow on the right-hand side of this car that we want to imply. So it's okay to go a bit darker here. But keeping in mind also the car, the other side of it is going to be still blue. But I'm very light. Putting just a lot of water here to indicate that the wind screen, that light wash over the top of all this stuff that's going on. And afterwards I'll actually go in with a bit of darker color for the insides of the windows. All these parts of the windows anyway, but I'll blend that in like that. Quickly. Surprising how quickly that pencil work just disappears. The front of the car? Yep. Leave out some of these lights, touch of a headlights or whatever. So much looks like a Mustang or something. That looks like an older car. Bit of that blue. And I've got a car off in the distance as well. Up to you really what color you want to make it. I'm going to use some extra yellow or something like this, just a dulled down yellow for this car and get it in, just keep the windscreen illuminated like that. I think that should be good to go. Now all the other cars, little bit of blue on the back of the wind screens as well. I'm just become turquoise see color, really, some of these ones back there anyway. Doesn't matter. Little bit of purple, maybe for this one, just a little white purple mixture. Should be darker on that right-hand side. Touch darker. I'll get in the rest of the car as well. But I do want to just let that dry off slightly. Work on this one. This is just gonna be a bit of black and a bit of purple mixed together black and purple. And look, we can go in here and actually getting the wheel of this car, which is quite dark underneath. And also the dark section right under there. Super important. We use join up in the foreground is where you got to be more mindful of details. Take a bit more time. What you're doing. Shadow. This is going to be quite a dark shadow. I think I'm going to go almost all out. But with this, a little bit of transparency is still in there. Notice dark is that but getting close to that I suppose. And this is just casting a shadow to this side of the painting. And look, you've got this area as well with the blocks. And like that, I'm just going to cut around them. Like that. Just cut around them. You might might be able to get some something coming through here, but for the most part, let's try putting this. There'll be the shadow for the blocks here. Here at the same time. Because when we got these joining shadows that just All right, next to each other, I find that it makes sense to do them all at the same time because there's sometimes interaction between the shadows. And you can have an opportunity to blend them together. If you wait until afterwards, it just doesn't really, doesn't really work. So look here, we can perhaps do something like this. But firstly, let me just getting, getting some details for the legs of these figures. Bit of black and just a bit of black for the legs, joined them up a bit as well. Because we can actually do the same thing as I mentioned before and create an joining shadow along with everything here in the foreground. Verbal Black together. There's this one here as well. Just quickly. Get it in. Often the distance that this shadow, and you can see the car, the shadow of the car comes through that this area. Anyway, which is why I wanted to do all this stuff at the same time. Use a larger you've got a larger flat brush. Just getting in. Then if the legs disappear or whatever, we can always put them in afterwards. Extra detail for the legs. I find any way easier to do that. And to miss out on the big shadows. Important bits and pieces that we have to have to make sure are included in there. It's a bit of this dry brush shadows here. I probably just thinking, how much of that do I want to leave in and keep on blended a bit over on this side. But I will leave a bit of it in for the textural effect that you get. And just look how I'm joining it a bit onto this side of the railing as well. Quite crucial. If you're in this area, this is that you have to keep in mind that sometimes you just have to work on whatever is in there. The mere fact that the interactions of the interactions, you can only get these blends in nicely. If you do it at the same time. The timing is really important. If I come back and try to do this afterwards, this will have already dried and it's just going to look to artificial. But at the moment I have an opportunity to blend, blended on a touch so I can do so. That's what I'll do. Underneath the car that like I said, this a little bit extra darkness in parts, but it's not a really much more around the wheels, I guess. Ran the wheels and even the wheels quiet, dark. I can just put in a bit of another color in here, get that. Dull it down a bit. That this car here in the background, I'm just going to simplify it down, get the wheels in with a little black dot or whatever like that. And then across like that as a figure next to the car as well. You will see some little details on the car like the like the, the window, sills and stuff like that. So you can of course just go in and indicate beats, little bits and pieces to I don't want to overdo it. Definitely darkness running through those windows. It's not really that light. So just feathering some of these darker color. Again, add a little darker wash over this right-hand side of the car. While leaving in some of the blue as well. Just blend in a little bit. Do its thing. Okay, let's do this car here. Bit of darkness underneath like this. And again, just getting in that shadow shape running towards that right side. This is creating a bit of a negatively painted shape on the car. The car here. Connect it up again and again, the shadow running towards the car, another one here. So our position these cars nicely so that they all add up and create this negatively painted shape that joins together and creates creates a bit of contrast for the windscreen of the car right here in the foreground. Shadows of those cars and the back. And not only that, we've also got some figures here. You can see this someone just walking in there. So why not just put in the legs of that person? Maybe darker, just a bit more black legs and join that on. A bit of a shadow on the ground. There. Another figure perhaps standing here. Just creating a bit of extra shadow as well. Lighten the shadows too dark. There we go a little bit better. So this shadow just blends in with the car, touch to the car. The darkness on the right side of that wind screen. Car there. I think we've got that one covered nicely. I'll just indicate some of these windows or something on the side of it. But apart from that, I don't really want to move it around or change it too much because we've got it already looks like a car and it's also in the distance. So any extra work you put into it starts to bring it more for widths. Looking good. Let's put in more dark, some really juicy sort of blacks looking around. What else do we have? Why not go back into this area here? We know we've got a little bit of darkness, a little bit of black on areas of the areas of this station here. At this point you just sorted using this touch and go technique as you can see, to getting some subtle lines. And this could be a window or something or an opening on the front there. Look it out, get out quick and software that is so that you don't draw too much attention to it here. Okay? You're getting the final bits of darkness and contrasts on to this building. Like that. Something here, a bit of darkness. They're not reloaded my brush once. Here. Here. I don't know what they are, but these round structures on the dome, you can see, let's put in the top part of the dome, which is just darker and quick instance of what's happening. Don't want to overwork it. That this is something on top as well, just a little, something like that. Maybe negative painting to cut around the lit the side that sound leaked by light. The smaller one smaller dome. Okay. I just picking out little bits of darkness and the floors as well of the building. You can just putting a touch of darkness here and there. Not too much, but hey bit more darkness and look how I skip parts of the papers goal. That's a trick that you need to do. Because if you, for some reason, if you put in, if you draw the whole line in, it just looks terrible. It looks too harsh. Sides of the buildings. Here you can see I'm just doing something as well. I don't know whether maybe some little lines running across it like this would help. Yeah. Just some broken broken lines, some quick little something like that. Because it's in the foreground, midground. And the darkest bits, darkest bits of this scene. Really. The windows, the shade, and the traffic lights, which we haven't quite sorted out yet. There's also in here a couple of little windows that's just looking at it, just a little indications like this. There. On top. You might get a little bit of something like this. You're just picking out bits of darkness. And it's all about balance as well. So that we've got some really dark for tones in some areas of the scene. This here is the the trim. You can barely tell that it's it's there. Might get into a bit of gouache right at the end to bring out the tram, just to highlight on it. Here there is a section of this archway. Let's get that in like this. Quick little archway. So some bits here, left side of the arch, arch way, there's like some little windows and things as well. Some more of the structure. By going back in there and repainting parts of it. You've got that roof, the background as well. So this light roof really does help if I get in just a bit more contrast. For this section. Line work helps with the edge of my brush. I don't want to overdo it. Something like that. It's fine. Okay. 7. Second Wash - Finishing Touches: Let's go ahead and get in some of these lamps and poles and things here on the street. And probably the first ones I'm gonna do is just around here. Just put in some indications of these traffic lights sticking out. Here. It's kinda hard to put them in really because they are such a dark area back in here, but I will actually bring in a little bit of gouache to assist with that later. And remember, you don't have to get all these polls in exactly as they appear. To. Just pick and choose which ones you, we'd like to put in there. So here I've seen this one just going up like this. It's a little street lamp. Hard to put in there, but it's like this. And I'm actually getting a bit of gouache afterwards to imply that better. That's a little street lamp, one of those old, old ones. And let's have a look. We can have one nose here. We did put one in there before anyway, but just draw it in with the brush. Paint it in with the brush. And there we go. Just a quick indication of it. Yeah. That's where it lives. And of course, you've got these like larger bits here that form the form the traffic lights and the street lamps as well. So just a little bit of this and look how I'm just using broken lines as well for it so that it's not just doesn't stick out too much. I find if you if you draw them with a full unbroken line, they draw too much attention. It's part he has a traffic light on it and I think getting indication of it like that. I'm a larger one in here. Take your time with these. I'm so tempted to just hurry it but can create a bit of a mess if you're not careful. Look at the angles in which they come off as well. This one's more. It looks a little bit shorter because it's closer to us. Okay. Something like that. In this is few off in the distance as well when I'm not too worried about them, but I do want to put another one in perhaps here. It helps to break up the scene a bit. So it's almost invisible. Okay. You go down, you can just make out something like this. Little lamp posts. Very, very, very, very difficult to see, but more the ones in the front, you gotta be careful of. This big one here. Goes all the way up and cuts across. Starts around about you can put it. I get it. It just running through here so that it brings out the lights on that building attach to the right here. I'm bringing this up. Again, being pretty slow with this. And get that top part there. This part sort of just joins up like that. Then you've got the actual lamp itself here. Like that. That looks pretty decent. Um, you know, there's all this stuff running through here as well. Another traffic light like this. And where does it start? Around here? Bring another poll. Painting, another poll right in the background. This one go up just a little bit higher. The top part of the lamp here. This little connector, get this bit to connect also to let the traffic light. So many little verticals in here. And I didn't notice before just putting in some dark areas underneath the car here as well. Another thing I wanted to do is getting some guiding lines running through the scene. So you're imagining a line running all the way from the back to the front. Like this. All the way from zero point, imaginary point here, just connect up a bunch of lines in the foreground to the back. Even on the ground is actually a bit of food, art or something like that there as well. So I can just get rid of that. Just make sure you going pretty light with this as well. You want it to be almost like an afterthought. Take advantage of this, this part here and just create another one. And this, I think this creates a bit more of a negative painted shape there. Some more here. This is actually part of the, again, this fence on that left-hand side, the scene, but below it is again the ground and the footpath, which I'll quickly indicate indicate that footpath roughly here. When these lines on the ground, they just help to bring the scene together. We've got so much detail in all the other parts of the scene, but we don't have much in the ground and also there's maybe some odd marks and things on the ground so you can just dirty it up a touch. See what I'm doing here. Just just getting in a few rough marks and stuff. Especially here in the foreground, there's just not enough detail for the ground, the texture of the ground anyway. Not that it's a huge thing, but when you've got so much detail in other parts of the scene and you don't have anything here in the foreground. You'd be surprised at how, how, how much it sticks out and not in a good way. It's almost like a blending technique. Put in a little bit of red for the faces of the figures. Heads touch of red and maybe some of this creamy color mix, whatever. Just to bring out some of the figures, a touch, like an arm or something running behind. Realize that there's not much of a shadow for some of them as well. They've just blended into the previous wash. So you can always just do this sort of thing at, in your own little shadows for these, these ones here. Just quick ones. Not too too much detail, but just enough. Indicate the darker shadow. You can, these poles should have a bit of a shadow running to the right hand side. Not a huge deal that one need not gonna be able to see anyway. Just a little detail I'm adding in for the windows. Cars will occur here in the foreground. Blend the legs a bit to the body. This little soft blend. To eliminate some of that harshness. It can be wearing a bag or carrying something here and just put in a little bag strap like that. Okay. Now some finishing touches and a little bit more. Darker, darker, black. Just want to finish this off. Now with the final, final bits of final finishing touches. The station, I think just that little bit of cleaning up work would be good. Sharpen up the edge of the roof. Mean. It's tricky for these bits up here, but trust Moser here, underneath the shade or the shelter area. Again now for some gouache, little bit of gouache. When I'm doing here is just bringing out some final highlights. The scene. Any way we can introduce a bit of sparkle. And I'm using a tiny bit of water, probably five per cent water just to activate the gouache, get it a little bit wetter than what it came out of the tubas. And have a look. Now, this trim want to put in a bit of wash on it. I'm going to wipe the brush off a little bit first as well so that it's not too it's not too much on it. Being on the windscreen like here. Connect that on a touch. There we go. Here on the building, the station, just on the edges of the windows. You can just bring out a touch of the little highlight in there. It's in pieces. These little traffic lights. And also these polls do with a touch of little sparkle one there. If you prefer, you can actually just mix up a bit, a bit of color in there as well. I'm gonna get in a bit for these lamps. They just a bit inside the lamps. Coming down like here through the darkness. That helps to sort of bring it back out again. Bits on the car's. Not much really is just a quick indication. Was that headline or just brought it back quickly like that. Shape the car a little bit. Okay. We're on the figures. Yeah. The head head and on the shoulder of that one. It's also ones out of the back. You can just bring out again. Off in the distance. Will be live gouache for this car. Welcome. Bring that out at are still can't see that tram so well, but we'll make do with it. Carry this dam which some parts of these highlights. It's important to just use it quite sparingly. Going to just quickly shake this car in the foreground a bit as well, by going back into this background area. Now there is actually a car behind it, but I will get rid of that and just try to create extra sharpness here. And you just shake the top bit so that it looks more natural. Pop in a few little birds flying around to finish it off. Just around the back like this. Odd ones flying about. And it helps to connect up the scene better. If I do that. Connect the sky with the rest of the scene. We're finished.