Easy Watercolor Coastal Landscapes

1. Introduction: Hi, I'm Derek from watercolor mentor. And in this class we'll be painting some loose coastal landscapes and learning my fun and easy two-step process and wet in wet watercolor techniques. Along the way, painting loosely is a fun and liberating way to approach your watercolors, allows you to freely express itself and portray landscape in a unique way. In this class, I'm going to show you how to paint a scene of London, Dubrovnik, Croatia, Istanbul, coastal France, and Venice. By the end of this class, you have the skills and confidence to be able to paint loose architectural landscapes, water, boats, and figures from a reference photo. And of course, you have some beautiful paintings to show off to your friends and family, will be covering some of these topics, how to draw and compose your painting. These lessons are placed at the beginning of each demonstration to show you how I sketch in basic details. I'll also show you how to place the horizon line, how to quickly and accurately sketching any reference photo. I'll also talk about how I use my sketch to plan out all the steps of my watercolor painting afterwards. I'll also discuss how to paint skies, water, boats, buildings, and figures in a soft and loose manner using a combination of wet in wet and wet on dry techniques. I'll talk about how and when to wet your watercolor paper to obtain particular results, such as the appearance of soft clouds and when to paint in more rigid and accurate shapes once the paper has dried. Finally, I'll discuss the importance of timing in watercolors and when to use different brushes. I'm excited to get started. So join me in this class and let's have some fun painting. 2. Materials Required: Okay, As usual, before we get into the actual lessons on going to be talking a little bit about materials. So some of the important materials you need for this class, I'll go through some of the ones that I recommend and use. And the reason for this is case, some of you guys are looking to go out and buy your own materials. Also, use whatever you've got at home. Just know the best ones to pick to get similar results to myself. And I'll sort of explain why it's important to have some of these materials. So firstly, I'll talk about paper. So the paper that I use here is a 100 percent cotton paper. This is a cold press paper, basically medium to a rough textured watercolor paper. Make sure that if you can grab some a 100 percent cotton watercolor paper. Reason for this is that a lot of the wet-in-wet watercolor techniques that I'll be using here, especially for sky. Some of the water works a lot better if you've got a 100 percent cotton paper and just allows you a lot more drying time and techniques is executed a lot better using this sort of material. So just keep that in mind if you've only got some cellulose paper or otherwise, go ahead and use that as well. But just remember there, those kinds of papers do dry faster and you may get different results from I get in these landscapes. So that's about it. In terms of paper. I won't talk too much else about that. Two most important things, a 100 percent cotton and medium, two, rough That's going to allow you to get in all these wet and wet techniques effectively. So in terms of brushes, I've got a bunch of brushes here that I use and I'll talk about what I use each of them for. So essentially I'll just group these into two sort of types of brushes. So over here we've got these larger brushes, and essentially I've got a couple of these mop brushes and I use these in large washes of color. For example, in this painting here, I've used this mop brush. You can also use a larger one just to pick up a lot more water and paint and getting this nice soft look in the painting. So if you're using obviously a smaller brush like this and trying to get in this large wash, it's going to be very difficult for you to get consistency and to pick up enough paint, it's just going to look disjointed. So always pick a brush that's large enough for the region that you're painting. So if you're painting a figure, use a small brush. For this case where we look at number 6 and number 8, round brush. And if you're looking at painting a large area of sky, ground, water, that kind of thing, use a larger mop brush. I also tend to use a flat brush at times to get in larger washes these days I tend to use the mop brushes are just feel that it allows me to get into some more subtle gradations through the wash. So that's what I use these ones for. I've got a couple, a couple of, uh, for more smaller brushes here. And essentially we've got things like this. We've got a number eight round brush, number 10 round brush also got a number 6 grammar, so it's the smallest 14 to six works pretty well. And I use these for smaller details, smaller areas that I just want to color in and pain. So if we look at, again, we're using this one as an example. We've got a lot of these buildings running down the side here. If I use this mop brush, It's just way too large. You're not going to be able to get in those smaller details. There's intricacies. So again, I'm stopping down to brush that smaller. For the figures. I'm using a number 4 to 6 round brush, allowing you to get in some more of these details. Some of the labs as well. So especially this lab here on the right, these buildings in the background there, a smaller round brushes allows you to cut around and getting those small, intricate details. So just keep that in mind in terms of brushes, you don't need that many. I'd say the most important thing is having some kind of larger wash brush like this here on the right-hand side. Having few these smaller ones to get in extra details and these small shapes in the front. So that's about it. I don't want to talk too much about brushes. That's all you really need to know. In terms of colors. I've got a lot of colors here and deceiving because you don't really need all these colors out of all of these are probably use about six of them. Most important things to have combination of warm colors and cool colors. So when we're talking about warm colors, we're talking about a things colors at, at yellows, oranges, reds, magentas, those sorts of colors which are known to be warmed. Then you've got these other colors here, basically any blues, which they start adding two Cooler Color Range. And I've also got some neutral tint, neutral tense, correct, because it's just lousy, too dark and any color without changing its inherent characteristics. So it's just a good, nicely we'll color to have, but essentially I've got lemon yellow, bit of yellow Ochre, Naples yellow. But a paru, orange powder will read Here. Bit of yellow ocher. Here I've got some cerulean blue, bit of ultramarine blue and some cobalt blue. Now, the most important thing is just to have a yellow, a blue, and a red. So if you've got a nice artists grade quality of color of each, that's going to do completely fine is much better. Having an artist grade quality paint of your primaries and having 20 different paints. That average quality. You can remember that you can mix basically almost every color with those three primaries. You can even get a warm primary and a cool primary of each. You blue, red, and yellow. So in terms of the color, that's about all I use and I've also got a little bit of what glossier. So the white quash is used in some of the paintings to regain some highlights. So for instance, here it's hard to see, but this painting, you've got the sales going up like this, these little mass and little highlights and areas just allows you to get in some little areas of contrast at the end in, put some light on the figures and things like that. So it's just something I use as a finishing touch. I also sometimes mix the whitewash in with some other normal transparent watercolors just get more body to the color. So example where I've used that is on the top of the painting here, where I've mixed a bit of cerulean blue with a bit of that white quash to dock in and make this area a little bit more opaque, maybe slightly misty, cloudy, just to give it a different feel. So those are the only colors I'd recommend. And like I always say, if you don't have any of these materials, you not able to get any of these oddest grade materials is not a deal breaker. Just use what you have practice with what you have. I think it's more important that you understand and get those brushstrokes practice and work as what you have. 3. Venice: Sky & Ground: Okay, so we're gonna get started with the drawing for this one now. And what we're gonna do first is again just popping the horizon line at the back, sort of where the buildings finish off with water starts. So having a look at the reference photo, you can see it's sort of n's, Jesus. So it's about a quarter of the way down the page. So I would say Brad here, you can even get away with making a third of the way depending on how high you want the palace to be. So I think I'm going to keep it pretty short. So just around about here. And just draw myself a line across like that. So this is almost a little bit, it's a little bit more than 25 percent. But what I really want to do is get some of the shadows running through. So I just want to make it a little bit higher. And you're just drawing in that horizon line is just a marker. Don't worry too much about getting things perfect. Okay, so there we go. We've got a general guideline here, the back. And I'm going to start off firstly with the palace. Now, if we divide these photo-op, essentially it finishes off right in the center. So we've got the parts of the palace that is sort of starting off right in the middle. So this would be the sort of chops off at the end there. So what we can do, we can sort of just do a little guiding line like that. And from here, we can actually split this up. So it's almost a third. So where the arch kind of finishes up here, that's about a third of the way up this entire structure so we can safely put the edge of the building here, kind of around there, that's about a third. Then we can start getting in little details of the other edge coming into the side here. Now a lot of these here, I'm actually going to getting as a general silhouettes. So it's not a huge deal. All the little structures and things at the end of the day, a lot of this is just gonna be simplified down. So we really got to focus on these pillars though, just to get a bit more extra detail into some of these. And I do want to, uh, do want to exaggerate some ears of them as well. I'm not going to worry about the sunlight's that are cutting through the center. So we've got an area here. It's kind of if we think about edges, this is square base like that. And remember this can be put in a bit later, the brush. So looking mainly at the basic shapes. Now, we're going to bring this opsonin. It finishes all the way over here and the doors start getting arches and may start getting a fair bit larger. The point actually in which they finish about halfway up the page. So sort of around here. So if we get a line sort of just traveling downwards, generally like this here, that should do the trick. And what I wanna do is just also divide this up into quarters. So then I can start putting in the arches. So we've got this section here, this section here It's a, it's a pillar. And we can go ahead and just start putting in, for example, this side of the pillar. So we've got the section coming out like this and the and bring this down. This turns into a kind of a squarish type structure like that. And then that comes all the way down. Again like this, hits the ground. And this lovely shadow that is cast across the ground there. So crucial. So just trying to get that in a little bit more, just define that a bit more. So coming down to this side now let's start putting in where the arch kind of finishes. So actually probably bring it all the way further up here, something like this. And we've got another arch that goes up like that. Then comes down here, there. And I've got another arch here, just putting it in a very basic details. We've got one here, like this. Very good. Just like that. Fantastic. Now here comes the part where we just want to pop in these bases, couple of columns. There's one like that. And getting this sort of section coming out the side like that. There's another column right at the back, sort of ran here, joins up as well, or that they're not going to spend too much time drawing that winning. We've got this one here and another, getting this sort of square shaped base in like that and bringing that dance. So there's a column. Do the same thing here. Notice how I'm simplifying things really to the bare minimum details. Okay. I'm actually drawing with the end of my my pencil as well. So not spending too much time coding the pencil really close down, just want to get in the general structure. And we have here say, you've got another kind of pill coming down like that. Really see the sort of disappears out. I do love this lamp as well. So I'm going to go ahead and put it in thinking whether I should change the position of it. Actually. I think I'll have a look. We have it here put in the same spot. And so we've starts around a bend here, like that, comes up and then go just to the base, starts and finishes random here. Finish it off in a moment. I just want to get in the other areas of the palace first. So this is kinda window and that's hidden, looks like hidden behind the pillars. And some of them are a little bit more visible than others. But essentially this here is the side of building. And we're going to be able to getting a really nice sort of a shadow coming from the sun sort of in that direction. So I'm going to just draw out some of these shadows along the ground doing this because I want to make sure that just getting in some details to make sure that it it got him in the right place for lighter, such kind of just experimenting around a bit. Maybe go in this, this one here, go to Add. And then we're going to have this one here, kind of slither of line running through, through there. Something that should, then I should do the trick is here sort of counts and overlaps like that. Then we've got this shadow that just extends all the way out. So just a little, essentially just a little indication of what is going on in here. Now this one, I'm just going to tidy up a little bit. So this we can get the shadow I kinda moving more like over this way. And then the pillar like that. So intersecting shadow of the pillar on there. Yeah. Kinda moving over like that. We'll have a look at it later and change it around a bit if necessary. Testing. So let's have a look at the building now this is the kind of difficult because all this is so much detail in here. And remember, we just want to get in a basic silhouette of everything. So I want to just get the top it in VS is going to be these, but just sort of where it finishes our friend of it here, following the perspective of that section as well. So just a little line work coming out like that. That's the top of the palace. And here is where we've essentially got all these arches in Windows and it gets pretty overwhelming when you start paying it. Tensions. So what we wanna do, I think we're getting just this bottom bit here first is the re-link. So that then another thing that I want to do is stop putting these nice sort of circular shapes on the top here. And if this is essentially just indicating these top areas of the pillars, so this how many of these 1, 2, 1, 2, 3, 4, 5, 6, 7, 8. About non of them. So 456789. Okay. So pretty basic shapes and keeping them. Looking at the general structure that shape, it's just a circle. We have four little circles inside. That's really all that is. So let's have a look now at the arches. So we've got, this one should actually be a little bit further out. So we've got one of the arch is coming down here like that and sort of turns into a pillar. It's out of the picture, came out just barely see what's happening there. That now turns into another section. This comes down like this. Again turning into a square, squarish sort of shape, bringing it down here. What have we got? We've got another one here. So I'm going to just repeat this pattern so that we've got all these pillars in our mic that the trick is is not spending too much time on it. I don't want to I'm going to secure all day doing this by putting these pillars in. What happens is that you end up creating these arches in the center. So It's a great little technique, great little way of figuring out adding in. It's kind of like adding a negative space in the middle. I'll say is another one. There's another one that just some quick little bits of line work there. And essentially you've got these arches in and in the background. There's obviously some more here going on. And darkness in that section as well, which we have to sort of imply. But on the top here, there we have observers, lot of these five circles that just join onto one big dark shapes so we can get that all in a little bit. Lighter. What I'll do here is just putting on this lamp little bit of detail here for the land. And draw that in here. This law where I want to put it could get another one on this side to hear about these lamps and get one mole and this side like this. And draw that in like that. I know the one coming off to the side there. Then we have a lamp and the rest of it we can kind of make up. Now, what we wanna do is add in these little bits and pieces and a lot of this stuff actually we can gain with the brush, but I'm just going to put in a little sign there. Like another bit of rubbish there. These could be sales from boats in the distance, that kind of thing. I'm also thinking of getting some figures in here. So kind of thinking where I should put this, some of these figures. So firstly, I'm going to go ahead and getting the background, which is essentially a bet going to send Georgia mega arena. I've got a separate photo for this and going Google fun another photo because this one's actually cut off in the side. But essentially what I'm gonna do is just shift it over a little bit more to the left. And the reason why I'm doing that is that I just want more of that tower in a more general shapes of the buildings may be the silhouette sort of structure in S. So I'm going to go ahead and just put in the general silhouette. And I don't want to take too much time doing this. Just really loose sort of work because I, at the end of the day don't want it to be all about the background, but it does make a very nice little silhouette and back. I want to find that it painted the same a long time ago. And just gives you a lot more interests, something in the background. And just a couple of little bits and pieces. Just that tower. They're thinking where we want the light source, light sources coming in from that side. So I can just put in, leave a bit of lots on that left-hand side like that as well to indicate. And we've got a little bit of detail here. It looks like there's a rooftop or something of a building coming down there. Then we've got another rooftop here, something like that. And we've got a dome here. The quick gestural don't. And there's a smaller sort of tau is here, one here, and there's one here as well. So we can pulp some of that, some of that in like that. What else have we got? We've got another roof top structure, something like that here. And that sort of comes down. Now the beauty of roof because sort of mimicking that top section. And the Coming up down like this. Then you've got to give the building of the details. Here we have it to that. All we need to do for that section, okay, and now let's have a look at what else we want to add in here. Let's put in a lamp post here. I'm going to just gesturally swinging on. I want to take up too much time trying to figure out what to put in there. And also, I do want to lampposts maybe up here, just having a think where I want to put it because we've got one here, one here. Perhaps. One over here would be noise sort of intersecting. But I wanted to cut through everything. So probably around here. I think it would be necessary here, just the larger one. Perhaps close up, okay. Perhaps closest. So we have to put it somewhere around here. And this will create a sense of depth in the painting for later. Change that around. Let's add a bit more detail later. But I'm going to copy the general structure of this. We saw the lamp in French, the smaller version of it, but just make it bigger. Good to be here like this. And we got another one here. And then I'm just Troy as a live through maybe another one hiding behind like that with just a couple of these little bits and pieces coming off the sides. Hopefully, that's not too quick. Poll. Okay, fantastic. So we've got three of these lamps that are positioned to, I think in a way to sort of draw the eye through same thinking whether I want to move this one down a bit further as well, kind of around here. It's something like that. That looks a bit better. And last thing is just figures and people basically walking through the same. So I want to have someone walking through here that's putting a finger here and they just walking through like that. And just towards the back of the same I just get the legs in correctly. So one leg sort of further in front and then one leg here sort of extending towards the back. And this, I can sort of use that, putting a bit of shadow like this. Now we can put in another person may be up, up here to the head of another person and just have them standing again. Just standing here, for example. For a moment. What else do we want? Maybe another person up here a little bit further back in the distance. Bit bigger. Okay. Okay. Let's have a look. Thinking I want get a larger and larger head shape. They can just walking, might be walking towards this section yet. So I'm hoping the leg like that. They should be just standing here in the foreground closer by this poll giving it a little bit more and making it look a bit more. It's going to help with the comparison, the size comparison with the figure and the lamp shade, you've got a indication of how large it is. A MOD actually get. Let me just think. We can get another person. Another person may be standing of saw it as well. Let's have a look. Hoping the head shaped like this. And perhaps they're walking in this generalized direction there. Oops, it doesn't look about rhyme, but will, that will do for now. I'm just maybe these leading the pole or something like that. Female figures. There's no one in the background. And just some little figures here walking around the thing that's going to help to bring some life to the scene. I love figures, especially in scenes like these. You, you need to have them in there. Brings a lot of life to the same, makes everything kinda come alive. Okay? This one bigger the head and the body. Often you got to adjust things. You want to do this while the paper is still, haven't even started painting it. Afterwards, it's going to be too late. So this allows us an opportunity to get a kind of shadow shape running through here. Okay, so that's why I'm doing this and just wants some interesting looking shadows running through this pace. Might even have a figure standing over here just closer to this sort of pole there. And you're walking towards the center of the same one of the largest figures I've got in here, popping someone standing up that side like that. Okay. I've just realized these ones. Make them read hiring. Need to line up so that the area essentially looks like a flat a flat. Peter, good grounds, essentially, which is what we've got. Just one bit of fiddling around and there we go. Maybe this could be a smaller person, a child or something like that, walking the parent. Okay. Fantastic. So that's all done. We're gonna get started on the painting. Okay, so time to get started. So what I'm going to actually use first is I'm going to start by popping in a little bit of color here over the top of these buildings. And I'm going to start off by actually getting into a little bit of warmth. Let's have a look. Just a tiny bit of perhaps grayish color on the top. Truck that in and I'll pop in actually a tiny bit of yellow up there as well. So I wanted to sort of go warm up the top, sort of like a warmer gray color. Okay, So don't want it to be over the top though. So start off and on popping in a lot of that warm color, the yellow zone of these mixing other types of yellows in the two. That's completely fine. You can even put into bit of orange or red. Drop that in the mix to vary things up a little bit. Okay, fantastic. I'm going to start mixing up a bit of red and a little bit of blue. So we start kind of getting these purplish color. I want to keep this section pretty, pretty light as well. Sorry, not overly saturating it with too much pigment. And as I come down, I don't want to do is row just drop in a bit more, little bit more about the top there. And even mixing a bit of wash to thicken up this area of the sky I find. And I touched a little bit of a thicker paint in the sky, we'll just give it some good data. This hazy sort of look in areas. I'm really going to lead to a bit of whitewash which have dropped into the top section like that. Okay, just a soft and things down a little bit. So again, just moving down the page. And I'm doing this from quite a distance as well. I'm looking down at the page and using my entire around to just get in this section. Here, I'm just going to wet the spit here. Like that. 4. Venice: Buildings & Figures: And I'm going to stop putting in a little bit of purple. And I'm using a purple because it's just a complimentary colors essentially. Okay. But a one-off mix up enough of this stuff of got some premixed purples, just slightly opaque in color. You can also just mix it up yourself. I just dropped the scene like that. Here we go. Drop that in like that. Yeah. I think I'll grab a bit more and actually mix up some of my own purpose. It just the blue, ultramarine blue and a pyro pile read in the side here. Get myself a little bit of darker purple. Mix that up. And we go. Now Trump is seen. Let's have a look at that. That's nicer. Okay, fantastic. And what I'm doing here, I'm just feathering a bit of that into the sky. Well, hey, bring that down. And also if you've got a spray bottle, I find this helps to kind of break up this area a little bit. So I'm keeping that spray bottle handy on the side there for a second. And I'm going to continue on with this section, just again adding in a bit more of that purple and then not too dark, but just a tiny bit of it in there like that. Okay, as we move down the page and come down here like that and testing. And I'm just doing a little bit of cutting around the figures and things as well. Okay? And what I wanna do down the bottom is I actually just want to start adding in a little bit of yellow. Okay, So we've kinda got this transition where it goes from this sort of lights yellow all the way down and look for dropping in a little bit of sort of larger strokes of this purple through the air so that it doesn't sort of start all at once, just a little bit up the top like that. Very subtle soft blends running through that section. Okay, So I want to preserve that live up there. Sorry, grabbing a bit of a yellow again, let's make some of these up. And the orange is, well, maybe the red. I want to just get that same color that was up top. Okay, and let's jump into that in here. Let's have a look. Just drop that in. Just a bit of warmth and let it mix in. Continuing downwards before all this stuff is dropped off, this is where you basically want to do it. I'm just drop, drop this yellowy like that nicely and then Trump that in tank. This is going to be the light of our paper. So I want to make sure that we've got a nice man of color and saturation here as well. More of that yellow button, little bit of, a tiny bit of, oops, that's way too much red spread that advocates will make do with that. Wanted to be more of a yellowish color. Cases we come down like that and getting everything in. It's just one big wash over the top. Okay. So we're almost done. Let me go. If you think it's too orange, you can drop in a bit more yellow in there as well. It doesn't matter as long as we've got a nice warm color running through this section. Completely fine. Okay. And this is just mainly to indicate the light. So have a bit of play around with this section and don't be afraid to even dropping a bit of that yellow afterwards to blend it upwards into some of these sections as well. If you feel like it's just started to get a bit too overwhelming. And like these. Yeah. It makes a little bit of that through like that. Okay. And what I'll do is also, you know, you can use some of the spray bottle to just adding a little bit of texture onto the the sky, little bit of spots and things like that. Little affects soft in some areas down. Okay. Great. And while I can I'm going to just drop in a little bit of a warmer colored paint, a warm gray color down the bottom of the page. I'm just mixing a bit, a neutral tint here, maybe a bit of the red and purple together. I'm just going to drop in a little bit of just a little bit of color like that. Okay. Just a bit of darkness running through the edges like that. Can Okay. I'll join that all on the widths. So we'll give this a quick dry and get back to it. Okay, continuing on now and what I'm going to be using as a variety of brushes, essentially going to be using these round brushes here. I'm going to be using a smaller flat brush perhaps in some regions. But essentially just the smaller round brushes have go to number 6, number 8, and number 10 round brush for this large shape that we have over here, we're going to get in. And basically in one wash, we've also got a rigger just in case maybe for some areas of the railing and and also a flat brushes again, just with cutting around some shapes, save it's necessary, I think, oh, stick mainly with the round brushes. So I think I'll go with the number 10 and the number eight to begin with. Firstly, what I wanna do is mix up a fair bit of purple paint. So I'm going to go over and grab a bit of ultramarine blue. And why would, why do you say purple? We probably asking and I'm using pip will because I want it to have a complimentary effects with the yellow is all around the paintings. So having these two together, I think we'll create a much more interesting compositions. So just mixing up some purple. And I'm also going to be using different types of purpose and not just the same one all the way through. So maybe on this side I might use a different kind of blew going to be this really in an on-ground. But if this other red, this is more of a vibrant sort of purple on this side. Okay, I'll mix it around with that as well. That's a k. And over that side I've got more of a reddish purple, putting a bit more ultramarine in there as well. So this side, I'll grab a bit of this paint. It's just a bit of I'm not sure what is that? Well, this is a bit of so just grabbing a little bit of cobalt blue, drop that in and we'll get a bit of alizarin crimson running through that as well. So we've got another mother top of purple, like that, kinda of like a doc, a one down. And I even on top of my adding a bit of the red, this is the rate out the top here. And then they would go, go to a few different mixes that we can draw from. Even over on this side, I want to think of adding in a bit of the purple with some rural umbo to get a doc is sort of mix running through a bit of grain and he accidentally, but we'll have to make do with that. Dropping a bit of that just to get a dark color that I can draw paint in some areas. So that every time I go back to the palette, I've essentially got a few different colors to pick from. Okay, so, alright, we're gonna go ahead and get started and move the palette a little bit closer so you can see what I'm working with. So over this side I've got just all these different purples that I've mixed up. A little bit of this darker sort of paint there, so the pencil lines are very faint. I can barely see what's going on. We'll make do. So let's start at the top. Drop in some of this paint like that straight across. And if I can get a bit of dry brush in there, that's going to be great to drop that in and I'm going to get in a bit of this. Purple, kind of forming a sharp edge here. Just to the side that coming down and pop out from that section there we've got this kind of pillar that runs all the way down to like here. Just a bit of bit of work like that and form that arch there. So all we're doing is that we just implying the shape of the arch, okay, we're not getting too bogged down in all the little bits and pieces. Just this odd shape. That's all that you need to have in this and that's one that's done. And coming up here. Remember as well that the sections have bits of light running through. So leave some of that light showing, okay, to another one there. We got another one perhaps here, like that. Another one here. And notice how I'm joining everything on to the top part of the page. Say, you want to get this all in one big washer. That's the the easiest way to do it. So coming in, got one last one to go there and drop that down. And actually the speed is going to be a quiet Docs I I can drop in a bit of other paint through there just to create a bit of darkness and cutting around. And maybe we didn't negative painting here too. That can be built if the pole k pillow. And here's we'll just leave a bit of that pillow like that here. And cutting around. Very important for the lamps. And leave the lights on those lamps. Maybe go ahead just a little bit of negative, negative painting, native brushwork and finish these off. And I want swapped to a smaller round brush. This is a number 6. Drop that in. And I think I can, I can Good Dan, too bad here, like that. And some of the stuff we're putting light up. But this is just another Strike. Bit of work coming down. There's maybe another pillar here in the background, goes up like that. Here we've got another pillar and giving that to come down as well. This, this one here, larger one moving downwards like that. This can be an opportunity. I've kind of gone a bit too far there, but I can turn that into yet another pillar that joins on in the background like this. Okay, so don't fret. You just creating a little impression of what is happening. Okay. You get these little arches. I'm just getting some more detail into that section. I'm mixing up a bit of blue and dark paint as well to try to getting some, some darkness in there. Okay. And we'll do this one now coming down here, it's another one. Here's will just bring it down like this. And here we have essentially bought this beautiful negative paint, painted region and bid of the pole sort of sticking out like that. And what I wanna do is start getting me in some little bit of this and call this railings around that down. How far we want to run it down and say, random guy here. Like that, pick up the little rigger brush. And this is great for this sort of work. And just pop in some of these bits of handwriting and things. Okay? While everything is still wet, this is really great on to do any of these sort of stuff. Okay, I'll get the bottom of the brain as well so that we can kind of anchor it down. And we have to want to begin at Randy and that we were going to cut around these and these lamps doc and off underneath like these, join it all up. So that's the kind of connects on. So important. Just racing key to getting, getting some of these bits and pieces quickly, bringing it down further. That one's much, it a little bit too much. Then this side is why we can put in a bit more detail. And this is where that kind of negative brushwork is very helpful. To just indicate objects and things in there. K to another one. Object sort of running behind. Okay, fantastic. Having a look at what else we might want to do. Just going to move this downwards and getting the arch further down the page. So we've got actually a bit that runs down here. I'm going to swap over to this number eight brush. So I can get in some more detail on that and bring that around. Here. Mary hits the ground. Actually we're going to move this sort of square shape and these curves ran, joins on there like that. It's actually pops out a little bit more like this. Okay. So have a look at that guy there. So that's the bottom of it. Let's move this across and done a fair bit of cutting around as well for these labs. Now we can continue to move downwards. Start just putting in the rest of these bits and pieces in here. So dropping, dropping this edge, glad we go. That's one to another one. Soften that a little bit. I can turn that into a shadow, actually. Another one here. Yeah. Bit of dry brush isn't good. I want that. Go just kinda goes out to this sort of square should a shape and then goes down like that. And here, darkness. I'll be a little bit of cutting around some areas like that, just getting a bit of live things going on in the side. Just another arch like that. Implying shapes running through here. And how dark and off inside. This region like that still needs to read properly. And use this also to cut around the figure that we've got over here. And funny enough, I've run out of this purple paint of almost cutting around this figure like that. Drag that down. And that can be part of the pole. Now, what I wanna do is start getting in the shadows down the bottom in the same kind of wash. So I'm going to spray B to the this area on the ground so that it just moves around a little bit. So we've got a combination of shoot a softer shadows, softer areas as well. So just give it a little spritz in some areas. But I do want to have a sharp shadow up the top surge is going to be careful with that. Okay, So larger round brush here, and I've mixed up a bit of color. And I'm gonna go through, and let's start off here, say kidding, bit of a shadow just running in like this and exiting out the side there like that. And this one can kinda come through here. I like that. Soft disorder shape join up to here like that. Here. Dhaka in the edges. This section here can come in like that, like that, and then join on here with this part of the shadow like this. And get it connected the data. And you go there. And this sort of section up here, this is where we can just have a bit of fun. Essentially the colors will just melt together, mostly up in this back region and essentially just create more areas of darkness. But I'm going to leave that figure, bits of the figuring like that as well. So we've got beta of air that just joins onto the, the figure. Okay, another thing I wanna do is maybe getting another pillow behind like that and join that onto like that. Some areas. Okay. The great thing is you can go in two areas afterwards. Incline little details like that. Michigan away to lie to us and we can, with a bit more accuracy, gets some of these bits and pieces in. Just wanna make sure that this shadow is joining on nicely with that one. There's a lot on the back of that one. That's okay. Great. Okay. Well, I'm in this area as well. Little rigger brush. I'm going to just start putting in some of these new things in the background. Hopefully they just melt together as well. They basically just that it's a fence and sales mass of boats, things like that. I know what this is. It looks like a some kind of line or something just kind of running across in some areas. So I'll just we want to change it up a little bit. You can even get really close down and putting some small details for the fence. The reason why I'm doing this now is I just want to create this sort of seamless connection between things. So it's so important to have that with you. I'm just gonna beads that join on nicely and knelt in with other bits of the paintings. So you don't have sort of areas of isolated activity. So we've got just a little bit of that going on there. And what I'm gonna do as well. We're going to start painting the buildings here over on that side. Okay, so let's get into some of these buildings in the background and I'm just going to get them really in a light wash of color. I don't want to spend too much time on that. I'm just looking at the reference picture very basically we've got some color here below and blue, blue inside as well. Like that. Remember this is all going to draw a favorite lights up. Okay, so just that's a building and the roof top there. This can be another building here like that, connecting upwards. And I'm cutting around these figures as well like that. And use called the Tao plus it just a bit of darkness on that right-hand side of the towel running up and sort of joins on here. Okay, that just really quick details indications section here. And that sort of joins onto the top pot like that. All right, Fantastic. I'm gonna think I'm doing anything more with that. Continue on and tell the courthouse do we have we've got bits of these rooftops and things. I just want to get in indications. And there's one here and here, and one at the bottom here as well. So just taking a bit of time to to leave some of those rooftops in. And I'm getting this in with as little amount sort of brushstrokes as possible as well. It's something to keep in mind. If you can paint something in fewer brushstrokes, it will look fresher. So cutting around the figure. And we've got this right section here and come down and leave some bits of space, bits of that yellow in there to indicate those pillars and things. Okay, The more running to the right. I'm not even looking at the reference picture at this stage. Okay. Fantastic. So this will all essentially dry off. And what I wanna do before that happens is start putting in little, some little details in his and maybe some of these windows, couple of windows like that. What else do we want to have a little bit, a little bit more detail in here? It's very hard to see honestly in this sort of section what's, what's really in there? Um, but I'll put it in a little bit more strength. Heal in that right-hand side. That I think that reads okay for the time being, enough to reduce some bits and pieces. Light is tau here as well. I'm going to tell us or a DOM which we can pull popping like this. Just no indication of that dome. And some of these smaller. When he called them. Towel is at the back. Soften that up a bit on that edge. Okay. Adjusting and softening up if you feel like it's overwhelming, the good thing about these towers that they sort of now draw out the rooftops here. They look a bit more. The rooftops now look a bit more obvious. So that's one of the good things about putting in these towers and putting a little bit more darkness on some of these areas as well. Just the tiny details in a dry brush strokes. And at okay. 5. Venice: Finishing Touches: Now, what I'm going to start doing is just adding in some colors for the figures and hopefully charm to get the shadows to blend in a bit more with some of these sort of damp areas there. So I want to be using a few different colors here. I think we'll go with some rooming blue for this one and change the colors around them. Feel like you need to stick with anything in particular that I'm using, but just ideas just to getting some color, basic color. You can mix it with some washi. Even Magnus is swollen. But it's really in blue here that often mixed with some quash. Just to thicken up a little. This guy. And that's one that's section I'll kind of make to be body. And continuing on, we might have another figure here with this sort of blue color. And the reason why I'm using it just because we've got all these warped everywhere. So some of the blues going to just make it look much, much more interesting. The complementaries moving around there. Okay? Now this figure here, I'm, I going slightly darker like this and drop that. Figuring this one here, one here as well. Something like that. And just putting in splitting in colors. So I'm trying to do even go with some orange here next door to the, the blues. Have a bit of fun. Change it, change it up, use of different colors. Here's another one. I almost forgot about this figure. Just cooling things down, warming it up in areas. That's kinda what you gotta do. This figure here, I'm getting some of this bluish color. I don't know what it is anymore. Something like that. And maybe dropping a bit of this dark color running down behind there. K. More blue, darkness behind like that. And here's the fun big wound up putting the legs, I'm going to grab a whole bunch of neutral tint. And the neutral tint is just the darkest part of the painting. Um, but it just helps me to get in these legs and ankles, fingers down to the ground. Lot more firmly. Say is little bit of activity here. And connect that up, that up. Draw that that middle around until you're happy with how it looks. But don't overdo it. And I, so there's one figure and then kind of walking might be walking out the head like that. And there's someone so to standing here. Let's have a look. We have this figure that's sort of just walking over like that. And this figure that's standing in the distance there and there. Here. Okay. If life, they had just magic to the same when you pumping these little little guys. So you can see here, I've whited it too long and so it hasn't blended with the paint above. So something to keep in mind. I've got another figure here as well which are forgotten about. Almost forgotten about anyway. So I'm just adding the paint up the top layer, blend that in there. And if it get, if you sort of getting too much of that blending or things start going dark, always remember that you can use a bit of quash later in the final stages to just bring them out and bring the figures out further. So what I wanna do at the same time is we want to get some shadows in quickly. Okay, so I'm just mixing up a little shadow color and look at the way the shadows are forming on the page. So we've got all the buildings following this sort of direction towards the shadow. So we want to make sure that the figures also have this sort of same shadow shape and join that on as well, like that to the legs. Make sure you get enough darkness in there as well. Don't be afraid to make things doc. That's one here. Just trumped reading. Okay. And I got a bit overboard with that one that we'll make do with it. And not these two figures. We'll kind of get their shadows coming forwards here. Yeah, open a hand or something on that bit of color. That moving along there. And we've got this figure here to the left. The legs in really was walking through the same Bailey, see what's going on. But then bit of darkness in here like that where that off quickly stuffed in it. Okay. And while I'm at it, Let's add a tiny bit of red to the heads of these figures. Say you just want to get into a very light wash of red lips. It's kind of gone into the going up. It's okay. That one's B2B. Have to fix it up, right? There's one. They're just trying to do this pretty quickly. I don't want to fiddle around too much. And there's another figure, the head of figure, couple here like that. Get that to blend downwards. That's the only one that I think it's a bit too large for rule will be okay. Maybe some of the hands and the arms or something coming off the side for that one. Okay. Even if you want to make some hole like a bag or something on that, you can do that. Holding shopping bag or backpack. That okay. So trying to let this dry, we'll get back to it and finish it off. Okay, so we've come to the final part of the painting and what we wanna do is add up all the finishing touches. And we've got a couple of lamps here that we want to get in. Some small a date house in areas of things like figures, the hair, a bit of detail, architectural details. So let's go ahead first and I'm going to start off by getting a little bit of detail on some of the buildings. So just a tiny bit of, let's have a look, just a little bit of detail. It's kind of just all my speaking up, some excess paint, drying it off, drawn that brush off, and just putting in new architectural details like these. And you're kind of just, you're not spending too much time in one area, sort of just going around and finding bits to exaggerate and dry brushing. So that's about all I'm gonna do for that section. Can't hear, for example. And we've got a section here where it just comes down like that. We've got another section there. So it just allows you to sharpen up some details that would really there before. Okay, so it's not a 100 percent necessary, but it is one way of getting an extra detail. Okay, So just coming in, putting on a few little bits of extra paint here and there. Just emphasize that poll a bit more. What else do we have? We've got the sort of top sections where there are kind of little bit more detail of the top like that. We can start putting in detail for the Palace, these little sections up there. Okay. I'm just sharpening things up and you can take however long you want it for this section, It's really up to you and how much detail you feel you want to essentially putting in. For this part of the process, the painting process to be quite relaxing because you can take your time. You don't need to sort of be rushing around and thinking, I've got this washes about to dry, I've got to get something in quickly. Thereafter. Worry too much. You just have to go in and just tidy things up a little bit in areas if you wish. Okay, so I've got all these looseness running around in the background. And so I find having a little bit of structure. Getting that back helps. That's my personal take on it anyway. Say almost done on, don't want to over do it. Let's have a look. There's also this sort of, you know, something like that here. But I'll leave that kinda be, it's kind of abstract shape. This can be another window on this side. I'll just getting the little indication of that. Then. Like that. Fantastic little bit of detail here for this, this sort of section, healing is like a window behind there or an area of darkness there. Just get a bit of that in there. Okay. Hello, so start getting me in these polls. So I'm picking up a, a bit of neutral tint. And these lamps, we'll start just here. I'm going to go ahead and just getting the section firstly with more of a loose shape and just move this all the way down. It has to be pretty dark, just make sure it's darker than everything else. Moving down the page like that. And then right next to this figure here. So just take your time to do this. Don't rush it. You go to the bottom of the lamp and you haven't gotten is the shadows so we can just quickly pop it in. The dock are actually than a 102 it, but you'll have to make do with that. And there's little bits of detail on the lamp as well, just these kind of bits that stick out and sort of it gets large it down the bottom as well. So I want to expand that out a little. Okay. That just a bit of detail like that. And stop getting in some little bits on top of the lamp that connect the sole up. Okay. Drawing the brush. And so we're doing at the end of the day, these sort of shapes just putting in little details. And top part of that lamp like that. A few at Tom's, the less you you put in, the better. Just enough to indicate that it is there. Because there's so many good look at that lab. But there's all these little intricacies in here that I can't even imagine to painting. Look at a way to simplify it down. Essential components. That, okay, I think I'll leave that for AI, stuff it up. Little lab here in the background. Let's pop that winning as well. And Amman actually use the little regard for this side and getting a bit more remote control. Very small set of bits and pieces here. Really take into account what's that? What's there? It's just going to look like a lamp down. Fantastic. I've got this big one here. Mixing up a load of dark paint later is that velocity, it will have to just get this warning here like that. So bringing these dams is really using a very, very dark and light. Bring that all the way down the page. Finish it ran a bet. Yeah, I'd say. And getting just little bits of the lab now set a topic. They're kinda what I did for the other side and just replicate that. To finish this one off. That bit of quash later to actually bring out some of these areas and lands because it's so dark here. The only way I'm going to be able to do it. Yeah, a little bit of shadow. Blend that in. Right? So really now we're just looking, what else do we want to add on essentially? So I'm thinking maybe in the background we can start putting in a tiny bit of something I've forgotten to do is actually some areas beyond here where there are smaller pose and areas of darkness at the back there. So I'm just going to Doc and off in some areas. Just to create some detail in here, a little bit of stuff going on and on, all that much, just some little indications, little dry brush strokes even through here to help blend it together. Great. Leave that for now and go on. Let's see what else we can put in. Here for the background, just some little bits and pieces is contagious. The bits of the fence and boats and things quick and simple kind of motions running through there. Okay. I don't want to be sort of missing around with all these small bits and pieces. Okay? Nothing I wanna do is maybe just get some little perspective lines on the ground. We can do a little bit of dry brush stroke running across here. Like that. Very subtle. Just a bunch of lines emanating from that point here in the center of the page. That anything that's going to help a bit. Okay, great. Let's put in a bit of hair called the figures. I'm just going to use a dark paint. I'm not going to worry too much about what the little details get this person back could be too dark in these persons because some longer hand like that belonged to have at least a tiny bit. Maybe the detail. Kay. Just running all the way through the back like that. Plastic. And final, final finishing touches, I just want to start putting on some birds in the sky and also some little bits of quash on the figure is just some small highlights. Just tiny birds are opting just essentially little v sort of shapes in the sky. She near the tower would be nice to the few here, maybe near the lights as well. Nuclei, they come in from all around here. Near the back region emanating from that few years and I'll submit, it doesn't really help us to break up the sky. These areas of just saying colored helps looking around. Where else can we put them to help bring things together? Do it. Smaller ones. Okay. I must stop there. And we'll go ahead and grab the goulash. You have watercolor wash to finalize everything. Call it a day. So rinse off that brush and I'm just going to pick up some just whitewashed, pure white wash. And it's pumping to be a highlight here. I saw to the figure there. Then they're just a bit of the shoulder like that, the head area. Um, maybe he even on the land we can getting little little highlights. Now if you're doing it, the K here a couple of showed is HD. Another figure. Kind of walking helps to draw them out. It makes a difference. Now the one there, another one here. This one year's important, forgotten about that one. Draw that one out. Going to need a bit of light coming off that one then like this here. That look at some errors the building even in just start thinking model need some little bits of goulash running three areas. I don't want to overdo it though. I'm quite happy with how the building looks. This the lamp on doing need to draw out a bit more dye and use the goulash to sort of create ha, lots and the lamp that to bring it out of the, of the darkness, essentially. Something like that. Mix it with some cerulean. Blue for this one. And this one here. Like that. Soft in that section down a bit as well. More of that blue in on that side too. Maybe some of it on the ground. Very, very subtle mocks. Again, these numbers like perspective lines on the ground and areas. Okay. I think I'll just leave it as that. 6. Dubrovnik: Sky & Water: Okay, so for this demonstration, I'm going to be showing you how to simplify this landscape here with buildings, boats in the front. You reference pictures quite large, so many things in here. There's little boats all over the place. We've got smaller boats out the back. We've got larger boats sort of at the front and it's also taken from a vantage point. So just going to up top-down view. So I've kind of flattened out this landscape a little bit so that it's all looks almost at eye level. And I've simplified it down by actually choosing some buildings more in the center of the page to focus on, especially this interesting looking clock tower up here. I'm not sure what it is. I think it's a cost will clock tower or something like that. So of course we're putting a little bit of the mountains and things in the back. First thing we wanna do, and looking at the reference picture, the colors are quite subdued. I want to brighten this up a little bit, create a bit more contrast soap. First thing I'm going to get is some color and I'll grab some yellow ocher. And we're going to go in just a little bit here near the bottom and basically getting some colors for the buildings. So this is just yellow ocher. Drop that in here. I'm looking at places essentially where I can just get in a little bit of interesting color combinations, mainly just warm colors down the bottom like that. And you know, at the end of the day, it doesn't matter too much as long as the colors are warm. Okay? So might, for example, pop in a bit of orange here. These little houses have some slight variations in color. Probably more views than that. But anyway, just getting in a little bit of that clock tower there and bits and pieces of all these other buildings, just popping in some colors. Okay, It doesn't need to be a masterpiece. We're just trying to get in some of these loose shapes. And near the top of the buildings as well are popping a little bit of this burnt sienna in spots. And I can leave out some white here too. Okay. The great thing is at the end of the day, we're just going to be cutting around these shapes. So whatever you put in here, it's just remembering we're looking at colors essentially. Okay? Just some light colors going over the top. We've got these boats and things down the bottom as well. And I just want to do some cutting around there. I might have to get a bit closer and swap over to a smaller brush to get a number 10 round brush. And I'm just darkening the paint a little bit down the bottom. It's got some leftover neutral tint. Okay. Be more water and you mix that neutral tint down with some of that yellow and just cutting a bit around this boat like that. Trauma to let that all dry off too quickly. Okay. So essentially we've got a sort of mixture here. Transitioning dances some darkness. And really important because the boats will need to be putting the big more color and a bit more sort of cooler colors as well in some areas to just sort of contrast with these buildings above. But what I'm doing is just making some real basic sort of color changes down the bottom and implying some little bits of detail there. But most of it we just want to get in warm colors in here. Okay. I'm just making things darker down the bottom. And at the end day, lot of this stuff, I'm just implying detail. We only need a few boats and here that a little more detail than the others. The rest of them need too much detail. So notice that here it's starting to dry off a bit. So I can add a bit more water in there. Notice I get little drips and things in there as well. Don't worry too much about that. And in fact, I'd say that's even desirable to certain degree. Sometimes I even get a little spray bottle out. Similar to this one here. And I just spray bit of water over the top in areas to try to soft and down bits and pieces, encourage it to sort of blend as well. And we got a little bit here where it looks like there are some tiny little cauliflower, so speckled effects in there that's desirable so that we get rid of texture running through those buildings, bit of variation. Think that's really important. Okay? So another thing I might do is just getting a tiny bit of four area in the back, just where these trees and things are. And I'm actually going to use some Naples yellow mixed with yellow ocher. And I'm going to go over this again, actually with a darker layer later. But I just want to go around, get some of this coloring here first. So that especially for this kind of track that goes around, I think we just need to leave in a bit of color in the background of lighter color. Okay, but not gonna do it to the whole lot, just bits and pieces. Tiny bit of color here. I don't want to get rid of that tower and sort of ends, but when it all dries, to be honest, it doesn't really matter because you'd be able to see through the whole thing anyway and keep this fairly fairly light. Naples, yellow was pink, sort of yellow, green color. I love this color. So what I'm gonna do now, you're going to give this really quick dry off. But what I'll do as well, I'm just going to go into the top and getting some blue. So firstly, oops, got a bit of yellow in there. We don't want that to just make do with it. Just wetting this area quite quite a lot. We've got a nice little area here, we just covered in water. And what I wanna do is just add in now some spirulina and blue straight into the sky and try to keep it light as well. We don't want it too dark. Okay. If the blue Hughes's bit of cobalt blue that I can drop in here too. But mainly serine and blues and the one on going to be using. And I like this sort of soft wet on wet effect. Okay, we want to just make sure that the blue doesn't go all the way down. Well, what that separation between these mountains here as well. So keeping it fairly loose and try not to code down in there if it mixes in, it's really not all that much we can do, but a little bit of mixing actually looks fine. And you're kind of at this point here we can drop in a bit of extra darkness in some areas of the sky and look how loose I am as well, just trying to get a bit of that paint in there in some areas so that it spreads and we have just more contrast and the sky. Okay, so what we want is essentially bits of lighter blue and a darker blue kind of mingling and mixing with each other in there. So this is a really good way to do it. And you can even mix in tiny bit of mutual tint or red in there to get a purplish color in some spots too. So I want to drop that in like that. And if it's over, you know, you've gone a bit overboard. You can go in, just pick out color. So you can just wet your brush and essentially just lift off a bit of paint like this to get in some sort of lighter areas like that. But the idea here is we want variation in the sky for these clouds. It's gonna look a lot better if we do this. Okay? But I don't want to overwork it. So kinda take a look at a, at a distance to see what it's, how it's appearing a fine that gives you a better sort of perspective rather than getting too close to your painting. Okay, great. So we'll leave that, leave that to dry, and then we'll go into the next step. Okay, so for the next step, what I'm going to do is start getting a bit of darkness in the background, some of these trees, bits and pieces. Okay? So we can do this on a couple of ways. We can actually put a bit of blue in there to mix in with that yellow in the background. But what I'm actually going to do is use more of the sand premixed, green. So having a look at the reference photo as well, we just got to be a little bit mindful that we're getting those buildings in nicely to. So I've even got a bit of brown. I feel like a bit of brown would do the trick. And I want a sharp edge with the sky, but I don't want it to be too dark as well. So I've got some brown. This is just a bit of burnt umber. Just chucking. I didn't like that. Coming across the page. Quick work like that. Yeah. There's a little path or something running through here, which I can just indicate like this. I don't know if that will stay all the way to the end, but we'll see how we go. Okay? And essentially you want to spend all the time in the world up here, try and get it all these little bits and pieces. We just want to get these all mean. Basically one shape. So I'm picking up some sepia as well. Just darkness to drop in here. And with these earth tones, you often get some nice granulation as well. And through these mixes, which is quite nice. And I'm thinking I might even add in a little bit of, little bit of ultramarine in here as well. Just through that makes, okay, coming down here. And this is where I'm going to swap to a smaller brush. So this here is basically a little, just a little round brush. And I'm going to be little more careful here. Pick up that ultramarine here and the SAR that's popping a bit of sepia here. Let's go some of the greens. So we're using a kind of mixture. Really have a few different colors. But I'm cutting around that air, the roof like that, that house. And then going this one here as well. That little separation in the middle. There. There we go. And that's the sod of it. Okay. And let's have a look. What else we can do. Is it would be kind of a connected here. So that kinda connect Song. Pick out a bit of purple, drop that in there as well. Okay, That can be the top of the house or something, the roof top there. And then some of this stuff you kinda gotta make up as you, as you go. And I'm thinking, okay, the light source coming in from the right-hand side, I think that would be that would be nice. And so what we need to then do is to figure out with these houses. So we've comes off over here and picking up some thicker paint, sort of mixing and bringing it across to this side. There will be another house or something here who knows? We can put that in there and a bit of darkness behind as well. This back area, we can always go back into it, but the sharpness and the buildings, we have to get that in the first time correctly so we can put it in a bit of shadow underneath the roof like that and then just join that on there. Okay. Kind of a shop, a shadow cutting across this area. Like that. Yeah. Look, section here. This is a building. Here is mostly just gonna put a little bit of darkness underneath that roof top and get a little bit of color running through the bottom like this. Okay, some blue here as well. Then sort of like a shadow or something cutting across the building. Indications of what? That kind of thing. I don't want it to be too too much. And essentially what I'm doing here, I'm just implying little details, areas underneath the covers, things like that. This area here. We come around just using the darker paint that and then leave a bit of that was coming out of the rod. Just really being careful here because the terrorists quiet. An obvious part of this scene. Something here as well, sort of sticking up. Just using dark colors and not even knowing what colors these hot in the dam. Just trying my best to do cutting around work, leaving this area doc around the areas that I want to stick it out. Okay. And there's darkness kinda behind here as well. A lot of darkness sort of comes all the way down the leg, that is houses and things here and that left-hand side. So going ahead to just adding a little bit of detail, maybe shadow that is cutting across there as well. Largest shutter shadow here for this, these buildings and things, the background. And again, I'm just really implying bits and pieces in the, not even much at all. Okay. It is a sharp area at the back here that we need to indicate. So just cutting around some of the buildings like this, like that. There's one there and then finishing off this section too. Okay, Tallis who sticks up there, honestly. And joining the song. Like that, creating some areas, sort of roofs and things sticking out. Like that. We have some triangular areas, we have some sort of rectangular areas and all kinds of things in there. And a lot of this mixture, as a said before, is just blue and green. And we've got some times as well, just mingling in here. K where I do that, cutting around the houses as well. I'm being quite deliberate. Don't want to go back in there again once I've sort of popped in a bit of color. Okay. So those are some more areas that I've done. I think this looks pretty dark but it will dry off. Nasa lighter. I'm going to grab some burnt sienna. Just drag some of that down and getting me to this building and things like that. These will little, little details like these. Nine things to join on. Okay. So two smaller brush as we work our way down the page, brown with ultramarine. And here I'm just going to add in some little bits of darkness, especially around the boats at the bottom. And I'm also going to getting maybe some indications of some trees and shrubs, that sort of thing here as well. Just little bits and pieces of darkness running through this section. Some of it may be painted wet into wet. That's okay. Just having a few bits of darkness and things there. Okay. Fantastic. And really this top section that's already done. But you can go in and do these little sort of trees, little trees like that, and went onto wet areas to getting some slide details and brushstrokes, that kind of thing. It a texture in the background. A bit more green. Some areas want that off. But a drip. But anything that you feel you need to pull you want to adding at the back. Suggest to really do that now while you're in it. And what I'm going to see just like these indications of detail and things running across that back section still managed to getting a bit of that path. Believe it or not, you can still sort of see it running down there, this bit here. It's kinda disappeared, but I can't see if I can put an ugly yellow like that, sort of mixing. Where do you want that area actually look? Doc and you, the tau, I mean, just dark in that area up again. These bits of darkness really important to make that tau so to stand out better. And I also wanted to look nice and fluid. So just also having to be careful. Here. Remember this is going to draw lots are as well, so don't fret. Put it in a more water in there. Let it sort of Bloom and change around in there nicely. 7. Dubrovnik: Buildings & Details: Okay, fantastic. So now we're going to move downwards and essentially get in the water. The bots and little bit more detail on the buildings. Okay. So for the water, going to be using a little round brush, this little number eight round brush to cut around the buds at the bottom. And then we're going to make it darker at the front. So really for that, I'm going to be using a lot of this ultramarine blue and also have it in mixed with a bit of the purple here. Then maybe start off with it just larger the back. Let me just have a look we'll try at here. So kind of like a watery mix up and back. Okay. But cutting around these boats is one, and here is a bit of the section as well. And another book kind of in the background there. You can barely see it. Okay? And this is like, but here in the foreground. So this is really taking your time to make sure you have some nice sharp and more detailed shapes in here. You need to have something to contrast with the looseness of the rest of the painting. So notice how I'm just spending a bit more time on this section. That's why. Okay. Going ahead and that's the buds here as well. Just want to straighten out that he's been more, you only get one chance, at least. You're going to be going to be quite deliberate. Okay. Go over to the side and Trump around that. But like this, maybe good. That's one. Now that we've got another one here. Maybe go to another one. And of course we've got this larger one over this side. Okay. Count around that, like that. Okay. So that's all good. And I'm going to add a bit of water to this section here at the back. And if we got any sort of pooling and things, I just want to drag that pigment out so that we don't have too many super dark spots here in the background. And just add more water. And he Ahmad actually swapped to these brush now, a little mult brush. Okay. Too much yellow on that before. And I want to drag these downwards like this. Okay? And I'm going to add more blue as I move down the page. We also got some peacock blue light, which is basically a kind of reddish, sort of blue, warmer blue drop that in there. Finish off the bottom of that. But like that, thinking I might have some sharp shadows on the buds. I'm going to bring this wash down the page like this. And then just eating the rest of these blue that's on the page, bring that down, mostly way down to the bottom. And once that whole area is saturated, this is way you can pick up a bit of a darker paint and start dropping it in sections. Using a smaller round brush. Pick up the number eight. Number eight round brush. And we'll go with a bit of sepia mixed in with the ultramarine blue to get a pretty dark color. Sepia and ultramarine blue. Trump that in at the bottom here he's one stroke. That's another one. You can maybe put more blue into it. There's another one. There's another one. Wanted to be pretty thick. There's another one. Okay. Now the stroke here. As we start moving out to the back as well, these strokes get a little more smaller and less defined as well. So this is just letting it mixing went on to wet. Okay. Into some of those background areas mostly. And then the front essentially just getting in some of these doc is strokes to indicate. More sharp waves. And part of the trick is also to leave in bits of the whiten here, here in the back K. And joining up these waves a bit as well, but giving it time to mix and mingle, That kind of thing is super important. You can even add in a bit of spray in here to soften up some of this. Soften it up a little bit as well. Courage it to blend better. Okay. I can now everything is pretty much dried. What I wanna do is start working a little bit more on the boats, bit of the buildings, and just getting a little reflection under the boats, some of the books anyway, getting some of the masks mass and finish this off. So what we'll do is just imply the roofs of some of these buildings. I've got a bit of burnt sienna here that I've just mixed up on that left-hand side. So really light wash of burnt sienna. And with that, I'm just going to drop that in to some areas of the roofs. For example, we might have a bit here, a bit here. Okay. Light wash, it's all we pretty much want to be there. Maybe a bit here. Here. Okay. We're just picking out bits and pieces and don't kinda love to run everywhere. But that's okay. Just a little bit of color into the buildings. Okay. And what I'll do now is pick up a little round brush and I'm going to mix up a dark color just with some blue and sepia here on the side. And I'll just want to put in windows and bits and pieces on here. So just dropping some details like that. This is the clock tower and maybe just getting a circular sort of shaped like that. They're running down the middle here we want to have some Lou Windows. And this is where you kind of want to pick and choose what to put in as well. We don't necessarily want to follow the reference picture exactly because there's often just so much detail in there that you're going to get overwhelmed. Okay, So just to pick and pick and choose middle areas that you might want to add in Windows and things like that. In these buildings here in the background. There's even bt that we can pop being too. Okay. Texture. Also. Using that side of the brush does help. Here. And my dad, like a door or something, doors here and contrasting with the white of the boats, I find it helps to do this down the bottom. Just picking out some small areas. And to draw out of this scene. Bit of darkness over here, more windows and things here as well. Looking at some areas I think I want to add on here as well. Usually rooftops underneath them, little indications of windows like that. Okay. And that should do the trick. And now I'm going to go into the boats and getting some fun colors in here. I reckon I'll go with a bit of orange actually for this one is larger but just some bright orange like that. Carry that all the way across the bottom as well. Here are my doc and it off as well. But just want to get in some bits of detail there. There's a boat in the background and I'm not actually just leave that. What, apart from maybe these windows or something here on that boat. But this one here in the foreground, we've got just a lot of darkness in here. Just implying was some, some bit of detail here. And I've also got to figure here, which I'll get in a bit lighter, but that's pretty much done. Or 0 add in a little bit of this darkness down the bottom here. Okay? And what we can do, I don't do this all the time, but we can also getting some little shadows, little reflections on the ground. So tiny little strokes like this. This would have run little bit up into the foreground, the same. Like that. Land up the boat and this just disappears off here at the bottom, something like that. And let's move on to the next boat. We can even add in a little bit of color up here, for instance, on a huge do. So let's move on to some of these others, just picking out colors that you want and that kind of appeal to you, I guess so even a bit of yellow bit of yellow or RCA for that one. I'm not picking a bit of pink or something for this one here. Going to fall down. Unfortunately for that one is more Peng. And there we go. Pink. Then this other one here might go with a really lot yellow. These are just the stroke of yellow. And this one here on that left-hand side, I'll go with red. Okay. Just a lot wash of Red. Cross. They're touching the bottom like that. And again, I'm going to just get some of that dark and paints and mix it in and the bottom news routine house, but I'll just run out. And you go and use this sort of getting a bit of a reflection like that. Okay, but what we've done on that right-hand side, little reflections coming down into the foreground, join onto the bottom of that boat. Okay. Let me put another thing we're gonna do is just put in these little, some smaller waves and going over the top. And to join up section. I want to leave this lovely Washington backgrounds. I just keeping it really light and then putting in only a few little strokes here and there in class and really calm ripples and things. Good. Some More Colors who these boats and we can really just start to move on. So bit of Naples, least boat here in the background there. Maybe bid more Naples here as well. Okay. And you have a teal color here. And I'll put it in is, there's another bird here in the background. I'm not going to bother with. And more darkness here as well on that side of the boat. Okay. And testing. I'm just going to pick up a little bit of white quash here on the palette. It's probably going to attend gray. But just what I'm trying to do is get in some of these mass masts. Smaller round brush. So just pick a bit of that paint. And I think here would be a good spot to just get wanting that just goes straight up there. And we can put another one coming up like that. And that boats in the background. If you've got a little rigger brush, this is probably going to work better. Rigger brush for the assemblies, little ones here in the background. There we go. And we go another, but they're just a bit of darkness at the bottom of these birds as well. Grandmom and some detail on them as well to shape, shape them more. One little details and things in here strikes him background as well. Oops. That's okay. Some birds here. Put some birds running through this section of the mountains as well. I think that would be nice. Just a few little indications like that. My mom even have one and syrup line here and here. That kind of thing can barely see anyway. I'm just trying to get inabilities. Dry brush, wash, running cross the bug in some areas to get B, this textured feeling. And this one's finished. 8. Istanbul: Draw & Paint: Okay, so we're gonna start off with the pencil drawing for this one. And we're going to go through, It's a really nice sort of same, a little bit more simple, I suppose, depending on how, how you look at it, depending on how much detail you want to put in the picture. But simply put, we've got a lot of this area in the background with some mountains, some smaller buildings. And tau is here in the back. We've got a bit of water and then we've got all these buildings in the front which we can getting all in sort of silhouette. So let's firstly pop in the area of where the water kind of finishes. Always use that as a general marker. Um, so pop it in a roundabout here and feel free to change it. You can put it further up or lower down if you want. Just depends on how much water you want in there and how closely you want to follow the reference photo. So that's sort of does the trick. Okay, so we've got around about here. It's almost a third of the way down the page. So what I'm gonna do now is just put in these general shapes in the back for the areas of these buildings and things like that. This is actually a minaret here in the background and very, very barely see it. And you don't want to detail these too much as well. Because the further back you've got an object, the less detail in the softer you generally want to make it unless you want to make that we see a focus of the painting. So just putting this all in one go, There's a towel or something here, a few other bits and pieces there. Who knows what they are. And then it just comes down here, finishes. Like that. Looks like there's another sort of mountain or something like that and that sort of comes up here. And then there are some small trees that then join this part onto the foreground. And what I wanna do as well as getting some little boats in here, just some indications and I think I what will happen is when I go through lighter with doing the water will make these more, stick out a little bit more maybe with some whitewash, but that's just a little indication. So coming up here to the, the foreground, I'm going to start with the largest shapes first. So we've actually got a dome here and I want to make it little bit more obvious coming out like this, perhaps that. And then we can get any sort of section on the name and modelling it on the dome to the left, the smaller one, because I can't really see the whole lot. Okay. And testing. And bring this down the page like this, all the way down. And then we've got this larger dome sort of finishing off around a bit here. So you can just put that in like this. Comes around this side as well. And then we've got this section here on top of the dome which we need to detail even more. Something like that. Then we've got sort of these areas branching out like this. That is another smaller dome here. Barely see it, but I'm going to just pop it in anyway. There the bottom. Okay. That's all it is. Just a little outline of where I wanted the babies is all probably going to be done in 11 wash anyway. Okay, so now time to get into this other one. So I'm going to tau I'll finish it off around about here. Come down like this. Okay. Getting some little details of these little openings like that. Yeah. Down the page and just draw that in like this. I'll get this coming. I want the diamond frontal not 21 over, probably just get both of them in like that. Okay. A is one. And really the rest of it, I will just draw out as little indicator where I want them to finish off centered around here. I've got another don't like that. Popping up there. A lot of these are just little silhouettes. You can just barely make out what is going on in here. Maybe go another doing here. It's amazing how you look at a photograph and you don't notice always things until you actually drawing it out and you realize how much detail is in here and you didn't notice before. I get into another one of these tau is here. Again, just a really quick indication like that. And these bits just coming up into the sky. I think these are really important. And and we got him down. That was a sort of section that shuts down here. That it's getting another one here. Sort of finishing around the same height like this. Bring these down. And again, we'll just popping some of these bits on the slide. The three of them, she's three years on to, but you can just barely see because of the darkness. Okay, I should do the trick. And another another dome or something like that. He would go to house a couple of dome-like shapes down the bottom here. Like that. Looks like a ship or something here, which I'll call being. Really at this point, we're just looking at shapes and getting some interesting little areas of interests. But a lot of this stuff really you're not going to be able to see. I'm going to be all one big silhouette and I'll leave some areas of white, I think just roost rooftops of some of these houses and features down below in here. And it gives you the sense of scale as well. We have smaller bits and pieces. You might have a loop here. This is the largest building in front of the roof top or something on that. Same goes across here. Another building as a sort of side, the other buildings here, but a lot of this stuff Here's his trees that are getting in the way. Bits and pieces like that. So that should be it. And for the sketch and we'll go ahead and get started. Okay, so we're gonna make a start on this one. Now when I, what I really love about the same as this really nice sort of warm sky up here, kind of a sunset. And down the bottom you've just got this kind of purpley color where it starts going a bit more cooler. So there's a really nice contrast here in this composition. So firstly, we're going to get in a whole wash. So we're just going to get in essentially. And so essentially what we're gonna do is we're just going to get in a real basic wash over the entire st unforced start. I want to pick up a little bit of pale yellow. I can't just dilute that down as much as I can. And I just want to indicate this area of the Sun here. Just something like that. Really, really light in the corner like that. Oops. Okay. So this will be the kind of let the lightest section of the sky, hopefully it's withdraw and Tom, when I move down there, so what I'm gonna do is pick up from the top, essentially just a bit of yellow, yellowish, orangey color. Drop that striding mod actually add in a bit of quash as well to get this misty looking effect up the top. And it's hard to do this actually with a little bit of opaque paint in this. We're just going to drop that in there. Like that. Have a look around, see how we feel. I k. And then I'm just going to go pick up some yellow and orange. So actually pick up the yellow first, drop that striding. Let it kind of blend up, do its thing. Carrying this wash down the page. And then this is just a bit of a yellow, a darker version of what I've got down the bottom. Okay. Now I really want this to be a nice flat wash and sort of change until more orangey color as we move down. So drop in some of these orange. Then if we go, and this is crucial to have this all mixing together while the paint is still wet. Just not going to work unless you do it this way. And in a few little strokes above, like that. Red. And the brushstrokes I'm making a very broad as well. So using my entire essentially paint the same k. Let's have a look and pick up lead bit more red. So it's just a bit of pyro red. Drop that in the end. It's half ago. Okay? And when mixing some orange is kind of a really dark orangey red color. This is the begun we've got to pay a bit more attention to. So I'm going to use a smaller brush to do this. Just draw around this air of the sun. Okay. That looks all right. Can relax. Now, I'm going to move this down roots. Don't want to touch into that area again. Okay, Great. So we go further down. We're going to add some red to red. Okay. I don't want this area on the left-hand side to dry off yet. So I'm going to go back in there and re-wet that. Drag some of these color across it. I want these to want that to dry funny. Okay. Maybe good. Bring that across more red down the bottom. Maybe got a bit of a bit of quash. And there would be nice too. And just to get the sort of misty effect and not turn pink in some areas, but that's a k. And a bit more. Okay, Now the water here, I'm going to actually change it up and make it a little bit more blue. Okay, so thinking, go with the bit of this blue here, which is essentially as Rumi and blue. And I'm going to mix a bit of washing there. So have a look. I need that to be like that. We'll get it to mixing some areas and if it touches the sky. And another thing I wanna do is just getting some little white shapes to indicate these boats. Really small shapes like this. Okay. When this downwards a bit. Wanna make sure I've got enough of the red running down the page, especially over on this side. The orange really read. Dropping a bit more down here. May look like I'm at the hurried and that's because I don't want it to dry off, form a hot edge. So they began to grab some more of that blue. Just finding blue areas. I've actually drawn a boy team here at the bottom as well. And testing, soften this edge up here. And then what I'm gonna do now is just grabbing some of this orange and red, dropping it straight into the bottom section, maybe a bit of the yellow as well, just some warm and joining in on with the water. Do it. No error is just the sum bits and pieces. Then just to get that warmth running through the bottom. Warm colors. I hope I can see through this afterwards. But we'll give it a dry. Okay, So next step, what we're going to do is essentially we are going to go through and getting some of these mountains and things in the background. And I'm going to be using a mixture of blue and red here, or you can even pick up your purple that will work as well. That's essentially what we're mixing, just a bit of a bit of a purple color that we can use to get in these background mountains in and we don't want it to be too dark as well, wanted to have that sort of miss the sort of effect. And We're going and shot to begin with. But then afterwards we're going to go in and soft and off some of those edges. So let's try around here. That's around the rock consistency. Remember it dries lot of k. So I'm dropping that in like that. Just testing. Okay. And go around. Now that there are details in here which I'm gonna get in a little bit lighter. And we can do it now even. So, I'm actually going to use this little rigor, pick up some paint and look at these, just getting it done, something like that. And stop putting in new bits and pieces on the side there can be a minaret. The trick is to just get it to join on to this wash and the bottom and spend too long on it as well. So coming across here and I'll drop in a bit more darkness at the bottom as well. If you if you want to do is just get a sharper edge at the bottom, like this. Okay. And if I can get in like a dry brush even on some areas, that would be nice. So the Luke, it kinda runs all the way across here and all the way across to the honest. Then up the up into the distance. These sections up here. I can go ahead and getting like that. So if we look here just a bit of softness, then add some water to dilute that section to beat that down there. So often that it up. And at the base. This is what I'm doing. I'm just darkening it down. And flat brush is great for this sort of thing where we're getting a nice, crisp and sharp edge in areas makes it so much easier. Okay, and before I forget, I've got his start getting in little bits and pieces here as well. That's tiny bit too dark actually, but I'll have to make do with what it did their babies. There's another Or something in the distance. Then get that to melting. Who knows what it is? And there's actually a very distant mountain here, which I want to quickly getting kinda just behind the cell just a little bit. Any indication like that. Just melt, melting into the distance. Soften some of that edge like that as well. Good to soften some of these edges to create a different effect in some areas. Same thing goes if you're going to use a spray bottle, I find that works quite nicely as well. So always keep a little spray bottle with me and if I wanna just give it a little spritz like that. And it will just draw a little bit more unevenly and create some, hopefully some micro blues on the paper, which is what I want you to paper, tissue paper to lift off some bits. So often. What I'll do is start moving my way down little bit and getting some areas of trees and things just mixing in at the bottom because I don't want it all to start suddenly. Maybe add in a little bit of Shri or something like that here. Let's get some green, little bit of green in there and a mountain or something. And here we can just start getting in little bits and pieces of some of the hazards and things off. Then i'm, I'm actually using a little bit of blue here, tiny bit of this blue mixed in with, mixed in with some quash. Again, these contrasting colors do look nice next to each other. The way we got just getting in color essentially. Okay. To leave this to dry. Okay, Tom to go in with the big shapes now, so I've got some ultramarine blue. And I'm going to mix this down with a little bit of red. And oops, too much red. We want it to be cooler. Just a purplish color. Okay? And we're gonna go straight in and get some of these buildings in, especially near the front is a large kind of dome here like that, which joins onto this other dome up the top like that. Okay, so just a really quick and we struggle over there. There we go. That's sort of goes up and finishes here. This term comes up here, comes down and a little bit of dry brush there. It doesn't hurt to little bit of indication here for the top part of the dome like that. Okay. So another dome here below which I'm going to quickly get in that and the bottom. Now the tower here. And swap this brush and actually these little round brush so that I can have a bit more control. What's happening. Just this down types coming off. Bring that down like that. Another dome that sort of intersect. Now I've lost the loss, the actual Pencil marks. But we can still get this done because the reference photo, that's another dime. What else do we have here? We've got another dime here. And it's good a bit off the top like that. Just speaking, update house is going to be doing. Now that can be some buildings. Yeah. Rooftop of the beauty and green eyes on that. A green and a bit of mess up the back here for some trees. Blend that scenario through the back ten K coming down here now. And another dome. Then. This is a doc, a bit of paint that I'm using. We actually drop in some of these areas as well. Reinforce pots. That maybe good. Another big here, it's in pieces here. Over on this side I'm going to just getting a few little strokes like this. Okay. Rebuts it in a bit of color in there. Just going to leave some of that white, especially that's always that bonus. She boats have the back as well. They do the quick draw, some wash and this is to get in some of the sales and things like these boats. I think it's a great idea to bring back a bit of light into the painting. So start off around here. It's getting, getting one of those like that. Drove the brush a little bit. If it's too much, go. There's another one. There's another one in lieu of us, him. The little ones here in the back like that. Oh, you know what often gotten off and gotten these areas here in the center is actually these two little minarets. And that's what they call. So we're going to go in and just start putting putting the mean. Almost forgot about. I'm going to finish off here. Pointed suited shapes. One then in this one kinda hear that. Tape it to a point. And what I'll do as well as start using some of this squash to get in some small highlights as well, one of the buildings. But just in some spots here. A couple, couple little bids helps to break up this God at a few of these in here, I always say that loops. And I'll call this one finished. 9. London: Sky, Water & Buildings: Okay, so I'm gonna go ahead and get started on the drawing for this one. And we're going to make this pretty quick. And I'm using my mechanical pencil here, also have an eraser just in case. And I'm going to go through and the first thing I'll put in is not getting the largest sort of barge or a boat, something like that here in the foreground. But firstly, we'll just need to add in a little bit of a horizon line. He just wanted a water ends just popping. A little line like that. It doesn't have to be anything too perfect. Kind of big, messy over this side and just erase that sort of where the water begins. And what I'll do here near the front is I'll start getting in an indication of some sort of bulge. Whenever you just one of those logic carrier boats get the front of it in like that and the bottom of it in here. And maybe the back like that. It's kind of just looking at it like a, like a rectangle shape. Suppose maybe a section on top here like that here. Okay? And just carry that on towards to the back. Okay, Fantastic. That should do the trick. And you can even have some people who sitting on top who knows whatever works. So I'm gonna go ahead and stop putting in another kind of around here. Again, one of these carrier boats or fairies, which really doesn't take too much work to put in, say get another one, maybe here as well. Something like that. Put in some windows or things later on. It's not a huge deal. So we're going to go ahead now and getting little indication of the bridge. Now, I'm thinking get one of the little pillars of the bridge starting here. And just marking out how we want to divide this up here. And then this one maybe here. And then there's one here where there's a boat kind of in intersecting with it as well here. So what I'm gonna do is actually getting a few little bits and pieces. Smaller boats running through that section, lighter. But are firstly want to pop in just this general bridge shape running all across the back there. Like that. The underneath that bridge. There we go. That's another part of it like this here. And of course, we just want to get the top so top Han regime as well. And we've got all kinds of details up the top, which we don't have to put in any stretch. But I think some of these shapes maybe we can get some buses or something like that just running across. Or they could be trucks, never know, larger sort of losses. These could be those red buses. And you see a lot of it larger or something like that. They some people walking across the bridge. Okay. So that just about does it I'm just kidding. Breach while I'm here, something here finishes off. Great bits and pieces around there as well, Not too fast about what is in that sort of section. And there's a tree here getting loose shape of that tree like that just outlining way we want it to be. And we'll start off with these kind of house here, the saw, this building here. And we noticed that it finishes off. If we look at the top of the roof, finishes off just beneath the halfway point of the paper. Well, because I've actually raised the water up a fair bit to get in a little bit more water. This is rooftop is going to end more around the middle section of the paper. So I'm just going to pop that in like that. And it's a bit large actually than I've dissipated. We'll see how we go. And then we've got to receive the Big Ben over here. So there are some other buildings here sort of in the background, which I don't want to imply to like that. Um, but this is an important section over here. So just popping and finish it off as well. Kind of on top of the page. And it's important this has to be quite, quite accurate. Smack bang in the middle of everything. K. That should do the trick. Getting a little section up here like that. And let's move this down. Decrease kidney in a bit of perspective. And then of course we've got this section here like that. Okay. Come down further. And that's popping a little bit of detail here for the clock, the rest of it. And there's about 1, 2, 3, 4 to 5, 1, 2, 3, 4. That should do the trick. Like that. Doesn't have to be exact. It's getting a little indication of the the little clogs up the top, the sides of it like that. And then it sort of comes in down to the bottom like this. And I'm gonna get a lot actually coming in from the left-hand side as well. So that should do the trick. And I'm like in another building sort of coming across the back, they like that two. And let's go ahead and start working on some of this stuff here. So we're going to just get in the basic shape of this building. So I'm going to pop that in like that here. Then what we have is this front part and it's interesting, sort of just jumps out to the side of it. Yeah. Okay. Rectangular shape. And it's only spies and things on top which look, I'm going to get a lot of the scene with the brush lightest, so we don't need to really get it all in at this point, not with the pencil anyway. But what I'm trying to do is just sort of give myself a bit with a few little hints and things for lighter so I don't have to think too much. And the placement of them just have to look at the reference and generally see where it is. Suv, always what I recommend when doing the pencil sketch with just placing general shapes. Ok, and we're going to be this stretches up, goes like that there. And the rest of it just goes all the way down to here. And we've got this other section here. And just exaggerating that rectangular shape to get in some of these lots and shadow areas in here on that really helps. Having a look at what else we've got. Insides. Put another section that pops up like this. Games to emphasize that rectangular shape there. And maybe one here. And then here we've got this side of the seesaw. The wall should actually move this one further down to just about here. That Right? Okay, this top area in as well, again, rectangular sort of shape to exaggerate those geometric qualities. And then we've got kind of little areas and talk. Miniature times 3, 0, 0, being too specific. We get this old in with the brush later on. The flag up the top, like that. K. And for our forget, I just want to put in a few more boats and things then he just indications of bits and pieces can be a yard or something like that. Smaller butts up the back. I can sort of that area with his largest sort of badge here in the front, taking up a bit more room. And I think that should do the trick. Fold this sketch, okay, So we're gonna make a start. And the first thing that I am going to do is mix up a bit of sky color. So what I want is to get a little bit of a globe in the sky just down the bottom. And for that I'm going to mix up a little bit of yellow. This is just a tiny bit of Hansa yellow. And now mostly getting a little bit of red in there too. So just a warm color will do the trick. But orangey sort of yellowy, warm color, that would be fine. So I'm going to firstly go through, we're going to getting all the buildings at once. And at the same time, go ahead and getting that golden sort of color over there. Just pop in a little bit of color. Just get some yellow here on the side of this building going up as well. They're like fat and continue on down below here. And actually for the buildings, I'm not getting a tiny bit of burnt sienna through here as well. I don't want it to be too orangey. So not just dropping in some color like that all over the place, but just in some areas there. The interesting thing is that it sort of goes all the way down into the bridge. There's little areas and things down here as well, which we can kinda cut around, can leave bits of what. And essentially especially for some of these boats as well. A few little broad strokes like that. And maybe a little bit of red in there to just warm. Okay. Now forgotten about this little m bit of warmth here. So I'm going to go and pop that in. So I'm just going to be like a sunset. Same, but I don't want to make the sky too dark. So I'm just going to wet this area a little bit further down like that. And then on the way up, what I'm gonna do is I'm actually going to pick up a little bit of this sort of purplish color that I've got and mix that up here and even add a little bit of that to some superiorly and blue. Hey, just a cooler color. And I've actually got a little bit of Washington bit of white wash in there too. So, but essentially it's just a little bit of cerulean mixed in there. And I want to get some broad brushstrokes running through just a bit of this sky like that. And getting it to blend and cut around the clock as well. So this is what I'm doing, just keeping it like that. A sharp edge on that right-hand side. And as it moves downwards, you'll notice it kind of blend and bleed and things like that. Yeah. If you feel like it's too much, just do what I'm doing here, just lift off. In some areas, it's not always necessary, but in some spots it's nice to sort of vary that color a bit and continue on upwards. Let's get in a bit more of that blue. And I'm putting in a bit of a wash in a tiny bit off what? Wash up the top. Okay. And the reason for that is that I just want to add a little bit more body to the paint and make it look a little bit misty, especially up the top. So this little Guassian, they're amazingly does the trick. Ok. And you'll notice it now it's just all sort of blended together like this. Essentially just doing its own thing. You can even dropping smaller little things like the smaller clouds down below. In areas too. I'm not going to overdo it though. I really like the way the sky looks at the moment. So we're going to bring this washed down and carrying on essentially with a bit of this burnt sienna. Just going to drop that in and I'll actually switch around to another brush. So I've got a number eight round brush. Number 8 or number 10 round brush will do you find? And over here I'm just mixing up a bit of burnt sienna. Maybe we'd sum sepia and we can pop in a bit of ultramarine as well to darken that down a bit. And I'm just trying to getting a bit of darkness down the bottom here so that we've got a kind of a gradient. In a sense. Just let it blend upwards and do its thing, adding some little marks and that sort of thing here. Okay, What I wanna do now is just go ahead and work a bit on this bridge. Okay, just some very loose marks in here. Okay? And now we can actually getting parts of the breach already here. That's one part. That's another part here like that. What else do we have? We've got another maybe another pot sort of going behind these bug or whatever it is over on that side. Fantastic. And what I'm gonna do is start getting in some of the water. And again, I'm going to be using a little bit of this kind of orangey color that I've used before. Maybe just muted down a little bit to that. And we're going to get these to join onto the sky. The sky but the wash above. Okay? And sort of need to swap here between this brush as well so that we can get some fun details cutting around these books and things like that. Inner being able to do that a lot better. Okay, so there you go. Just bit of cutting around. That's the important thing is what I'm doing here essentially just getting leaving the, what the pica for some pods can say, linear mixing areas. And then underneath here we've got a sort of section of the bridge. Okay, another bit of this section of the bridge here. We can get it to mix a bit too and go over it later. We don't have to worry so much about details at this stage. We're just looking colors, okay? And I'm going to add a bit more yellow in here. That so this is Bob's that we got in before. And I'll cut around it like that and testing. Okay, so around this point what I wanna do is start adding in some of the blue to start mirroring the sky. So grabbing a bit of that little bit of that cerulean blue, drop that into the area of the water. Like this, using just a large Mult brush. If a guy and I'm going to let these mix and blend and do its thing. And I'll go to the bit of a wash in here as well. Similar to the sky. But I'm using a slightly darker mix of this blue, especially near the bottom, like this. Okay. If this top woods join it on. Oops. Like that. Okay. So having a look around if there's anything else I wanted to do more padding, a few little strokes running across, just some little ripples. Do this while the paint is still wet and you can get these nice little effects like these, very subtle, not too overpowering salt to a smaller brush down the bank if you want to get in some little waves, little ripples and things. Again, the front adding a few more, larger ripples and disturbances on the water as well. Especially over here in the corners. I think that needs a bit of darkness in the edges and at the bottom. That little bit of darkness underneath the boat's probably need to redo this again, light up to help kind of ground than their grandmom, but sort of get them to sit on the water. And I can do this as well just to getting some little, little waves, little ripples, soft recalls running underneath, underneath these shapes as well. And if I go back later and it's not strong enough, if it once it dries, we can always redo it again. I like having a combination of and Witton width and dry sort of techniques. Like the section in the middle. I don't want to I don't want to go too far into that section in the middle, just want to keep that locked in there. But I'm making sure that I'm dropping in whatever I need to drop in activity section, essentially, just some docket paints and variation in here, essentially. Okay, and asic. So we'll leave this off to dry and get back to it. 10. London: Finishing Touches: Okay, so carrying on now what we're gonna do is we're going to use a bunch of little brushes. I'm going to just pick up as a number 6 round brush. I've also got a number two rigor here. I've also got my cellphone number eight, round brush, perhaps. Smaller number 6, flat brush. I'm using these brushes be quite small in comparison to the attribute of paper that I'm using. So here's a sort of reference so that you understand the sort of scale. If you paying on a larger bit of paper, you're going to need to use brushes that are also suitable for the size of the paper. So it's just for me to enough to get into the details of just some bits and pieces here. So anyway, I'm going to start, I mean, get this over with goes straight in to the clock tower. And for that I'm going to mix up a little bit of ground here. Basically a bit of raw, umber got a bit of purple here on the side as well. Though you can mix in a bit of ultramarine That works on the side like that. Just varying these, these tones are little because I'm not exactly sure how dark I need to go to begin with. So I'm going to go in and remember that the light's coming in from the left-hand side. So I want to start a roundabout here, and let's just give this a crack. Drop that in there. Is that dark enough? And that should be okay. So dropping that in, then I'm just going to go ahead and paint the top of this. Okay. And when you've got a little rigor like this, you can actually use this in areas to imply small details. I'm not going to not going to overdo it at this stage. I just want to make sure the shadow on that right-hand side makes sense. So going in like that. Okay. And this needs to be more, little bit sharper like that. Great. And let's go down here, cutting around this clock little. Okay, just leaving, leaving out some areas of the yellow behind. I think that's really quite crucial. Going downwards. This drop that in there. I've gone a little bit too far on that right-hand side. I've just taken a bit of that paint off quickly, going down, maybe a bit more ultramarine, bit more blue in the bottom. So the try. Okay. So that's sort of brings it down further. Like this. Okay, fantastic. I'm going to just rinse this off a little bit to have a sort of a lighter color. And I'm going to go over to this side of the clock tower and just start getting in a few little lines intersecting in joining on to the top. Case it just like that. Essentially. Maybe a little bit of indication of that sorry that clock. The reason why I'm doing this is I wouldn't get it done all at the same time. I don't want to sort of sit around and and have to figure it all out later. And also it sort of creates this fluid looking effects where we've got essentially all of the colors just mixing together a lot more nicely. Maybe a few little lines running down like this. In error is just a bit of texture. Who knows what? Something like that. Okay, and I might get in a bit of indication of a bush or something here. So the tree here in the front, like that guy. The results, a building behind which I'm going to get in with a beard, these purplish color. Softer color here running down through the back there. And these sort of joins on all the way. Maybe more green in here, joins on here to the side of these other building, which is also in the sun. So I don't want to over word face. Just little bits of this sort of roof thinners on the roof. I don't know what they are, but they just sort of structures on the roof and and little bit of the architectural details. And getting also some of the windows. At the same time. Just a few little marks like these. Essentially. You'd be more green and he, another top of green would be nice. Here is we sort of going down the page as well. I do like to add in a bit more darkness in some areas. The darkness around these edges of these boats. Whatever that I've kind of added in there to begin with. And this is kind of a good tonal. So maybe to getting some rigor strokes feel like this is all kind of blended together. And I want some sharp lines coming out like this just indicates some branches or what have, you know, really there, but I think that's kind of necessary. Just change it up a little bit. They don't actually go up that high. Okay. So let's move on to the other side of the building down here. I'm gonna get that in straight away. Bit of brown that just a warmer color. And we're going to cut around this section here of the cocktail, just the speed here so that we've got a sharp edge where the light sort of starts like this. Okay. And comes all the way down here. Just this whole largest sort of shaped like this and maybe this the detail there as well. Continuing on like that. And that's sort of where the light stops. And we've got some areas here that are facing the sun. So just painting the areas that are supposedly in a bit of shadow. Some bits and pieces. Okay. Joining it up as well. I don't want it to sort of exist in isolation. Now the pot here that's in darkness, maybe here, here, like that. The rest of it will kind of leave out and use this smaller. Here's my little rigger brush to hopefully getting some small details on the top. So what I'm talking about is these little spires and things that are sticking out. I just want to imply some details there. It doesn't have to be anything too crazy but too complicated, but just something like these is fine. Okay, so just keeping a bit of that darkness on top and dropping it in, letting it melt. More bits and pieces here as well. Suggestive work up the top here. Okay. Same for these pots. Then. That new areas that you might want to pick off in adding some slight detail and that kind of thing. It's always a good time to go ahead and do that. Okay. Keeping this old joined onto each other as well, and I don't want this to stick out too much. All right. Another thing I wanted to do is just dirty that area up a little bit as well. Just some texture and things like that, like these. So that it doesn't look all the same. Go in with some of the windows and things like that, lighters. Just going to make more sense if we do this. Okay. Fantastic. And now I'll give this a little more dry off. Before I do that, I'm actually just going to get some little bits of colors in full and the boats. So for example, think of putting in if bit of blue or maybe let's try some red here for this bush down the bottom, speed of red there. And then we've got some Windows or Windows I suppose, and pop them in like that. Just a little bit of color running through all that. Those areas of white. Okay. And being caught suggestive with what you're doing as well, don't need to spend all day on it. Okay. Color for that. But then the couple in the back, let's maybe put in a bit of yellow for this one here. And we can go with blue for this one here. Say just changing it up little while getting some sharp reflections as well underneath bit of neutral tint ocher marine. Maybe we didn't see peers well mixed in there. And we can do these very dark shadows. Few new drugs for those ones. And some connect the ones in the middle. And on the edges like this. Oh, I'm at it. I'm just going and do some of these architectural details and things in the background. I'm just looking at the way that the buildings, these new, which is vertical lines running across lot of sections. So I'm gonna go ahead and implies some of these all the way along. And it looks quite repetitive, especially even on the sides here that give it a little dry. Small details here on the sides of this part of the building. So often that off a little just trying to get in a bit of darkness here, indicating this tree or what have you coming off this slide. And another effect is that it just draws out the sod of that clock tower bit more by adding some darkness in there. And what I wanna do is also stop putting in the bridge. Okay, So I'm just picking up in a brown bit of neutral tint. And Let's get these done very quickly. So we've got to be so section coming down. They're running their home across there that the shadow underneath the, the breaches will the background activity may be going on. There might even dropping a bit of red. Could be a bus, can get a bit of a wash. In a moment. In this mosque. This one, this one here is a little darker strokes running through. Oops. Few buds. Areas where you see a little white highlight it as well. So do these areas here where the paints kinda skip the other parts of the pica using rough paper. And you can add them in like this. Just in some areas and makes it look a lot more interesting. Having some goods flying around up the pigment off some other bits that we want to put in. Essentially just the final dock, it to the painting, but we're almost done. So not use the smaller number six round brush, just pick up some pure white goulash. Does have a little bit of blue in it extensively actually. And I can start just getting a bit of this. The sand bulge back to why there that I wanted to leave on. So we can go ahead and just put in a pit of that wide, bring that back. Okay. Don't overdo it. And here we got a, can be a mass or something for that one. Another one here. Having bits of this color, this little white come through, also makes it look more interesting because we've got all these sort of darkness in the background and get, use these rigor. We can actually get the smallest, sort of smaller ones as well, like that. Little trick. To keep this. Get this one white, and then do a little squiggly reflection underneath like this. Some of them could do that reflection in the water. Running through and areas. Mix it up a little. Now we can get in little bits of highlights as well sides. And the clock trick is just not to overdo. It. Did have a couple of buses or something and he'll have been lost. We can do a boat even completely in white. Just pick up, wash and just drop it in like this. And we'll go vote. Okay. Great. So I'll call that one done. 11. Rovinj - Sky & Water: Okay, so we're going to make a start on this one. Now this is a very complicated thing. We've got all kinds of boats coming up in the front foreground. We've got some in the midground and some in the background as well as, and on top of that, we've got these buildings. So what we're gonna do, we're gonna simplify them down, pick out a few of these buds that we want to emphasize, just the general shape of them. And we'll start putting in details of the back later. So let's go ahead and give this a go. So I'm going to start off by firstly putting in a little bit of a horizon line. Now in the reference picture you can see it finishes just above the halfway mark of the paper. So I'm gonna go ahead and just put in a very, very general line up the top here. Like that. Just so that I've got an idea of where to stop. Okay? Now the rest of this is going to be relatively simple. So what we're gonna do is we're going to go and getting some of these boats here in the foreground. I like the way some of these bones start to go off on the corner, that sort of thing. And they sort of turn and face forwards as we move along. So I'm gonna go ahead and give this ago and remember just trying to get these general shaping as well. So we're not trying to get into too much detail. So here's one of the boats that sort of starts off here. The back-end of the boat comes off and then we've got section here like that, top of the boat there. And then the rest of it just kind of finishes off the page so you can't even really, can't really see it. Okay, so just go ahead and pencil that in like this, and that should be enough to indicate the side of the book. We've also got this little section here, the bot, which I'm going to pop in like that. Okay. Bit of a windshield. There is some details up the top here. Okay. But mainly what we wanna do is just indicate this area inside the boat, bits of cloth and things like that. Coming up inside the boat. One of these bullets or what you call them float. He's on the side. So I'm going to pop a couple of A's in here, kinda just overlapping a vat. And another thing is that we've got these indications of the railing on the sides of the buds. So little bit of that will go a long way in the back of the boat is well there. And that's essentially about it. The rest of it we can refer to the reference photo a little bit lighter. So we'll go on now to this other one to the side. So it comes out like that. Then then it kinda comes out like that. Then it's getting this side the edge of it like that. There we go. Given the back part of the boats. So that's the back section there. Then we're going to extend it out so that it comes further this way, like that. Give it a bit more room. Okay. And I'm just going to get this one out actually further so that it finishes a roundabout here. I think I've made it legal to small. So get it to finish about here. And then we've got the other boat kind of coming in like that as well. So just a little section like that coming up there and the rest of the boat sort of cutting across like that and straight to the back. There. There we go. And we have another boat here. So there's a bit of a cloth or something like that kind of tarp or something covering that section of the boat. Little section here. A lot of this stuff we're just going to indicate no need to get into much detail. Remember, we've got the light coming in from the left-hand side. So what we're gonna do is we're actually going to get this all mean in one big shape ladder. All the shadows moving across these left size and law really live the light source and this one. So moving this one down now, the boat on the right-hand side. I'm going to go through popping little more of this detail here for this boat. Kinda goes up in the corner there and then you've got these sort of railing runs down the side like that. Great. And then this one has like a kind of indicated indicator like that. And then it goes back in there. Indicate is really not looking at all too much detail in here. Just the model of the boats important, just this section here where it connects onto the water. I think that's pretty crucial. Okay, just the square shapes of the bot is really important so that we've got some kind of structure to them. And the rest of it who kind of look like additional detail. But we won't need to really put all within. So really the rest of it, we've got another boat here at the front, sort of comes down to the corner there and like that. And then this one come out like that. And then we've got a section that just comes out there, comes up further. We've got these little, again, some more of these little ball odds. You might want to put another one here even that's completely fine. And section here looks like a C T or something like that. And we've got this section here, little shade over the top there like that. And that pretty much does the trick for that one. We've got a section inside the boat as well. So all of these all this section here, which is a fair bit darker actually inside the boat, which we can get in with a bit of color. Lights are on. And we've also gotten a section of this bird here which kind of looks like has this sort of squares structure. There is a window, sort of comes out like that. Okay, it comes down and then this then turns into another section of a boat like this. So very, very, very subtle. And release putting in a few little bits and pieces. K. If any point you want to correct things. This is really a good time to do it because you need to be able to see this, I guess the composition in your, in your mind. So if there's any bits and pieces that don't make sense to you, feel free to change them up around here. I just want to get this one a little bit more coming out like that. Okay, great. Another bud here. Pop that in behind just this sort of rectangular shape like that. And it does the trick every guy. And here we've got another but behind like that. Thanks. I like these other boats as well. Some of these ones which is just facing forwards. I want to take a few of these and pop the mean. Now, I wanted to also take out some of those other birds and that the reason why is because I want to put some more water in here. Feel like there's just not enough water in its boats all over the place. So this is just something I'm going to change around. So here's one at the back. Just judging, just having a look at the size of it. It's large enough. I think what I'll do is move it further back. Okay? So for example, I might have a section of the boats sort of starting about here. That, okay. Then we've got this part of the butt up the top there. Bits of detail like that. The section on top of the birds like that, that might be one already. Then we can pop in a few others, say he's another general shape that I'll just follow like this in a few more bits and pieces coming around the side. That's another one. Okay, so take too much effort really to put these in. I want to have one here that joins on to this other book. Just get a bit of overlapping going on. Like I had become getting a bit too carried away with some of these marks on the paper. Okay, there we go. It's another bird and they might be one here in the background to like that. So really just some small indications of what is going on in there. And also where it's just the shapes in the spaces in between as well, so that we don't have all the same thing going on. So I'm going to pop in a book here very close to this one. I'm just coming up like that. Something like this. This side. Like that. Just the boat off of the edge like that. And maybe another one here. Be closer. Another boat rant about this section. There. We can go in and a few smaller ones out in the back to these ones you really don't need much in their old. Look at this, look at that. Just blue rectangles. Some of them may be facing this way as well. Kind of like these ones, but just on a smaller, smallest scale. And maybe we have one that's here like that. And we can change this around. Just putting a bit the town area sale or something on that one comes from sales here. This one might have little bits in pieces sticking off the top of the buds. So just use that reference photo and change things around to how you want and what looks in your opinion to be a nice composition, how the boats are aligned up, that kind of that kind of thing. For instance, here, I really think I'll put another float in this section because I don't want these just look to structured into kind of lined up in, in different rows and make change that up a little bit like that. Another thing I like these kind of ship really far off in the distance like that. So just going to pop in indications of that could be a larger one. They're off in the distance like that. And we'll go into the buildings now. So firstly, I want to get the buildings in general shape. So we'll finish off this whole middle section. It kind of takes up this center part of the page, leaving a little bit of room on the side. So we'll mark out where roughly begins about here, finishes around a bat here. And we can just start getting in some of these buildings and take your time with this as well. I'm actually going to make the buildings a little bit bigger because I really love. I just love how they look in the distance and I want them to be so small and receded, so on. Imagine just make them a bit bigger than normal. And here I am just going to put in some details like that, just some more emphasis on those buildings. Okay, so that's, uh, that's one building here. What I'm gonna do, we'll go through all these little buildings and the front first. Okay, just increase the size of the list a little bit. You don't have to do this by the way, it's up to you how you want to compose it. But I want there to be more of an emphasis on these buildings, which is why I'm doing this. And especially the shadows on some of these buildings here. I think they look very nice over there. So increasing size of these, not a problem. Always if you need to zoom into the reference picture, feel free to do that as well. If you think you can't really see what's going on and you just need a bit of extra. So going in here that he's another building, it kind of comes out and the air comes down. They regard them as another building here, comes out in front. So then there's a section here at the bottom, kind of shades and stuff like that. Okay. Nice to put in some of those little details of these buildings. Now, this larger building here, there's actually quite a few things going on here, lots of little buildings and that kind of things that I'm just going to go here. Imagine a few, the pick out a few that we, that we like. So that one I enjoying them to look at this and my popping. That building like this, that can be another building. What else do we have? We've got some of these other smaller buildings that have a roof like this, especially in the smaller ones there like that. Okay. And this large building and have not left enough room in here for it. So what I can do is just erase this section and pop it in there. And that's the section I quite like actually. So that's why I want to pop it in. So that's sort of building ends off there, that one here. And then I'll just draw this one in, kind of coming down like that larger building runs across the roof top. That. Hi. Okay. So we've got another another one coming in here, cuts in front like that. That's the side of the building. Like this, might actually leave this little bit intersecting with this building. I like the look of that actually just some overlapping shapes and bits and pieces like that. We can even get some smaller ones here in the front just to emphasize the larger ones at the back of some smaller buildings, these little, little shapes out the front. Okay, so go ahead and have a play around. And here we can just also chucking some more boats and shapes. Anything you feel would increase just a sense of depth in the painting. Okay? So a lot of these houses actually go far up and into the elevation of the land up the top here, I'm going to go ahead and pop in a new little bits and pieces and things, more sort of rooftops and structures that are just scribbling in. Really, what I wanna do is actually getting this part here of the tower. So I'm going to put it, place it right over here, little bit closer to the other buildings. So it kind of clumps a little bit together. Let's finish off these sections of buildings here in that left-hand side as well. I feel that needs to be brought over to the left to be more. So here we go. This is a tower just going to get this one, right as well. So small distance, you can barely take note of it, but it's just one of those central things in the painting that we have to get, right? Okay, so that's what I'm doing. I'm just popping in a little bit of perspective in detail into that, into that tower. Clean it up, reboot as well that the edges are do want to, especially here on the left-hand side. The reason being is that we've got light that Sam coming over to that left-hand side of the building. So I don't want there to be too much sort of pencil mark, marks and the page. Something like that. That will do the trick. It's a trees and things here is, well, what have we got here? We've got more buildings. I mean, there's all kinds of detail here. Just get in, look at them in terms of shapes and other, that's just a squared. This is another sort of square that hits the ground. And we've got a large boat, looks like a fairy or something like that. And they just comes out through the bottom. There. All kinds of things. Just getting in the way. We just want to indicate some more details and bits and pieces is this here? This is sort of, again, more boats that we can emphasize. Often the edge like that. Bits of detail there could be, could be another boat Who knows. Okay, So just going in, I'm just doing some new basic sketching. And remember to change up the buildings and the back to make them sit more simple. I'm not drawing everything in just bits and pieces. Some rooftops here and there, like this. You're trying to draw everything in. Otherwise we're going to end up end up in some trouble later when we try to put this all together and interpreted. Okay, fantastic. So I think that's ready to start. Okay, so we're gonna get straight into the painting. And what I wanna do first is start putting in some of the colors of the buildings. And to do that, I'm going to pick up bits of yellow. So we've got a bit here, a little bit of this Naples yellow dropping some of that in here for some of the buildings. I'm not really too fast about the exact color. More just getting in some of these warm sort of huge running through the sides of these buildings. And I like to mix them up as well. So I've got more of a yellow coming through this side. Maybe a little bit over there, bit more warmth. I can pick up, for example, a bit of yellow ocher, drop that in here. It's just changing up these colors teeny bit where we can. So just going bringing all this, you don't have to be too perfect with this because I want to get this to also blend in with the sky later. But just popping in some of those colors. I'm going to go with a bit more brighter yellow here. Just drop this trading like that. Okay. And the rooftops, I might get a little bit of this tiny bit of this burnt sienna, more of a reddish. And we'll drop some of that into the hair is here. Skinning in colors. Don't worry too much. That exact details. More yellow on these buildings. Bit more of this lemon yellow in areas as well. I feel that's missing in some places there. And of course the Taboola just want to pop that in as well. Like that. We may want to swap to a smaller brush, round brush here. Okay. And the bottom as well, I just, you know, if you want to do some cutting around, would some of these boats, it's always a good idea to get the scene. Now. Imply just spits of what? For some of these boats. So it looks a little bit more seamless. I suppose. It makes things easier for you. Okay? So I want to do is also you can drop in a bit of dark painting. This was some weighting with effects as well down the bottom. Not too fast about that though. I just want to get in that lovely yellow. Okay, So what I'm gonna do now is I'm going to start working on the sky. And for that I'll be picking up some Boolean blue. Okay, so just mixing up a good bit of that here. And that air of the pellet dropped some of that into the sky. Let's have a look at how that looks. Since I do want to just lighten that up a bit. Maybe add in some other colors as well. I don't want it to be all to dot in the sky. I want it to be dark enough. Those so that the buildings really contrasts against the sky. But at the same time we have to remember that this is a daytime scene. So we just got to take a bit more care. So around the edges of the buildings where you've got to be a little bit more careful. So in some areas we might, for example, and not decide to cut around and we can just go and join it on like this and like that for instance. But in some areas what you wanna do is encourage that actually mixing. Okay, so you want to indication and a nice little combination of mixing and areas where it just has a sharp edge. Okay, so this is going to keep it looking a lot more interesting than if you just get the whole lot and mixing. So I'll do it here. It's a little part of a roof or something like that. Here. Just take a bit of Time to go ahead and do that. This tau or I've got to be more careful with some gonna leave a bit of a lot along the edges of it. Oops, do need some mobility. You hear them. Especially on the left-hand side here where I wanted just imply bit of light. Going to leave a little highlight there. Some of it will mix down the bottom. That's okay. That's one way that you can just use to cut around the shape because remember this area of white of the yellow, I mean is still wet, so we don't want to go over all of it. Okay, we want wanna get here is where it joins in some areas it my mic. So you can see it is mixing in some parts, but not in all of those areas and leaving some of them. Somebody's wise, like this. Okay. So back to this other brush. I kinda go through these a little bit too late, but we can still get in there and dropping some of that blue here. Okay. Remember we've got bows down the bottom as well, so just shop around. At the bottom. Pick up a smaller round brush. I've got a number eight and number 10 round brush. And the one that I picked up, the small one here that I was using for the buildings that was more of a size four to six. And if you ever get and remember, you can always use a tissue to lift off some areas of paint. So for instance, I'm thinking here might be a bit just sort of blending too much. So I'm going to pick off a tiny bit of that blue off the top of that tau like that, just so that it dries a bit. This blue. Tiny bits of things. You can control, little things like that. You can control the rest of it. Just let it play out and painted in loosely. See what I'm doing. I'm sort of just letting it take me where it wants to go. But I'm keeping the general shape of these boats in as well. So she's some of these here, the back cutting around to indicate them like this. Never know. Another, another bit in mark that k. Now, here's the interesting part. Essentially we can start popping the colors in bits and pieces in here just to indicate smaller cloud shapes and things like that. So i'm, I'm going in with these little little brush and then dropping in some smaller clouds and things cloud shapes, for example, we can get some purple color running through a bit of red as well just to get some variation of color in the sky. I think that's a good thing to do. And we can also use a larger brush like this to pick up other pants and just dropping in a logic cloud shape like that. So I don't want to overdo it, but I can be interesting, just create another another kind of shape and remember this stuff in the sides as well. The paint's already dropped off so we can get these little rougher marks on the edges and contrast them a bit more of this darkness here, soft, softer shapes of the class. And over here, I just want to getting some of those clouds, essentially. Some of them looking more textured than others. Well, things is still wet, is always a great time to do this sort of stuff. Okay, dropping another B and the cloud. He has smaller clouds. Maybe some here too, just Lu bits and pieces in here. Yeah. And what you can do as well, you can pick up a little spray bottle and soft in bits and pieces. So if I, for example, just wanted to do a soft in this bit of sky for, for instance, I can just spray it on here and get some, and also it will bloom and a little bit. So we'll get some interesting looking. Perhaps blooms in the scar just, it's a softness that permeates through, say. I'll leave that to do its thing. I think I'm happy with generally the look of that sky. Don't want to go in there and mess around with it all too much. And what I'll do is, I'll start now, essentially just putting in a bit of color for the books. Okay, So just some of the shadows, things like that while the sky is still drying. And we'll go from there. Okay, so what we're gonna do now, we're going to start putting in the sections of the water and then we'll get the boats in afterwards. Okay, So I've got a larger round brush here. This is number eight round brush. I've also got a number 6 round brush. And we're going to use these in combination to put in a bit of color here in the background k. So a darker blue. I'm going to use some ultramarine blue here. Fair bit of ultramarine staying at the back. I might also mixing a tiny bit of purple in here too, just trying to see how much we might sort of need. Okay, so I start off with the smartest. See the concentration may be a bit heavier. We can drop in some a little bit of CPU as well. Let's drop that in. Okay, so I think this looks quite okay. Another thing is that we do have to make the back significantly lighter than the front. So here I am just going to go through and quite loosely popping some of these areas in the background to where the boats are and some of them may connect onto the buildings a bit, some of them may not. But one of the biggest things to remember is to pay attention to where the boats are and leave those bits of whites in there. Okay, So some of it you're going to have to make make up. Okay? And at this stage I'm kind of half looking at the reference photo and half just painting from what I am imagining to be the boats. Okay, So section in the back is quite crucial for this reason. And we want to also get it to stick out from the sky a little bit too. So there we go. There's a boat there. Okay. So we just got to make these air the water slightly darker. Okay. So let's cut around. We've got a bit here, we've got another bird here. Another section of the bird like that. And this one comes down there like that. These three boats here cutting around them like that. We've got the edge of this boat here in this section of the bone there as well with the rooftop like that. Okay. Just doing a bit of negative painting, which means essentially cutting around an object with a darker color to reveal. Reveal it. Essentially. Going into having a look to see what else we can do. I think we can get some water coming through here as well. The rest of this is just a lot of that is just part of the boat. So cutting around like that, then they can be like a section of the boat are kidding, actually some color and things in here. This can be recovered later if I've gone a bit too much over that section. And one thing to remember is that as you move down, you want to keep adding a little bit more color. So what I mean by that is just adding in a little bit more darkness to this mixture, very much mixture, a little song. I've got some neutral tint here. And I'm mixing this up on the side here with the blue, trying to get some slightly different mix as we move down to the front. Okay, there's another one another board. Yeah. It's a cutting around work. Here. There we go. He's another one. It's going to be a bit of water here. Drop that in there. Changes around bit more. Now going back to the palette and just picking up some odd colors here and there, but always making sure that they're still in that cooler, cooler sort of range. Okay, Let's drop that in. That. Here we go. Another bug, we'll bring this down to the front as well. Let's have a look at this one. Another bud here. Cut around and I'm actually going to darken this section of fair bit down the front because we've got a lot of sort of darkness underneath the boats. So I'm going to pop in that shape, outline of the boat here with a darker sort of paint. This is neutral tint for both of these ones, getting maximum contrast in the front of the painting. Okay, maybe another bit here to indicate the edge of this, But they're beautiful, blue as well, mixed in there like that. Okay, there we go. And we've just marked out the edge of that. Bert. Always try to make things darker and the foreground. This is going to help give you that sense of getting the painting. Okay, So this section here I've got a stat playing around with now because it's getting dry up. And bring these Dan leaving in that boat, a boat. Then we've got another bird here. Runs all the way down the front, popping a bit of neutral tint. There we go. Round the edges to another shape. Here that I'm testing. 12. Rovinj - Boats & Buildings: Okay, What I'm gonna do now is I'm going to start putting in some little waves, just some very lot. Small waves running through. Some mixing up some blue and some neutral tint. And try just around the front because I can afford to go darker down the front, create some of these effects. And it's not going to meet to be too noticeable like that. So I can start off and just experiment and see, is it too dark to light? So that it looks around the rods will sort of darkness for some of the shapes here in the front. So what I can do is just start and fanning my brush across the page in this sort of manner. And in the areas where we've got essentially with lots of bits of lots of areas and getting some of the little waves running through the painting dry off the brush a little bit as well if you feel like it's too dark. So just dropping some of these little subtle, these little waves and darker bits and pieces running through that section like that. Hi, and I'm also keeping in mind to try to make some of these a bit more irregular and that kind of thing as well. Just to keep things interesting. Okay. Great. And this is about the only time we can get these nice wet on wet soft effects in here. So definitely maximize the opportunity you have for these. Have a big play around and practice these brushstrokes from time to time as well. Okay. Another thing I can give it a bit of a spray, especially near the top here. Because I do want some of this hopefully to run down the page. Tiny bit just run down so that it is a little more darker at the bottom. Okay? And, uh, this sort of interesting effect as well that I'm not enjoying, just It's kind of running effect. Okay? So I'm kind of happy with how this is looking. So what we'll do is just give this a little bit of time to dry and we'll get straight back into things. What I'll do first is we're going to start getting into buildings. And for that I'm going to use a smaller round brush, maybe a smaller flat brush as well. I think because the buildings are quite small and I'm going to be picking up a kind of grayish color if I can pick up some neutral tint here and a bit of red. And this side, for instance, pop in a bit of a yellow and a bit of that blue, we can come up with a suitable grayish color. Okay, And what I'm gonna do as well, I'm going to vary this affair bits. It's not going to stay the same color. I'm going to be using bits of blue and things in there. So firstly, what we would do is I might start off right here. So this is the side of this building. And I'm going to get that in just quickly like this, their side of this building and bring that all the way down here to the front like that. And then we've got this building here, which is also a bit darker like that. So I'm just popping in a bit of bit of darkness underneath that section there. Oops, I've gotten beat 4. That's K, which is blended seems to that right-hand side, that building. So over the side we have got a bit of darkness on that side of the building. Again, bringing this wash down the page like this. And we will cut that building off at the edge. Just soft metal color off, like That's awesome. So not to Doc. I'm working my way through this one and finding bits and pieces, rooftops and things that are not want to emphasize. Some things like this that you can see what I'm doing here. Essentially, I'm just indicating some areas, rooftops and things like that. Just try to put them in strategically in some areas. Not just shadow coming down like that on top of these roof. There. Let me get rid of this. This tower here as well, which I'm going to just get him a bit of a shadow on that right-hand side that bring that down here. And then we've got this sort of section of the building here, which again, easy in a bit of darkness there. And we can start again just indicating some areas of darkness joining the song so that we've got some dark shapes he had going on in the background. The reason for that is that just wanting to k sum these little trees and things, maybe behind the buildings. But I don't want to overstate it as well, so just gotta be careful not to overdo it. Okay, So moving along this left-hand side now, just basically just finding bits and pieces that we want to put in. Some pieces we want to leave out, for instance, just go ahead and have a play around with the brush. Now, remember you don't have to be all that accurate because we've got all these shapes here which are quite far in the distance. So almost too much detail was going to cause issues evens. It's going to detract away. So just go in and popping somebody shadows on the right-hand side of these buildings. Some areas of these buildings and our fine, That's going to be enough. So naming the color of the mean and we're going to need to leave some areas in light. Okay, So that area there and want to join this on like that. So important to join shapes, watercolors. Whilst the liquid as well, like this, it's the best time to do it because otherwise, we go in litres, just too. Manufacturing bit of shadow here underneath that, a roof like that. What else have we got? There's all kinds of bits and pieces in here that we can imply. And dropping additional details where we want to use them. A little bit more. Detailing. That smaller brush really does help. Chimneys and things running off the back of these buildings. We don't need to worry too much about them. Okay? Separations in between the buildings are important as well, just like that. As we move down the page and you're the bottom, I do like to add in some additional dark missing areas. Went onto wet and we can always do this as well later on when the paints dry, but I do like doing this. Some of it went into it. Okay. So really just using neutral tint at the bottom. So as it sort of comes down the page, we want that full range of tone. And so we've got these sort of midtones, more and buildings. But at the bottom, I want to have some extra darkness and bits and pieces here. Sort of anchor things down. So we're gonna do these buildings here on the right as well for homeless forgot to have them actually say some of this has kind of bleeding shock D1 to happen, but you have to make do. And this is little tricky as well. You can scratch it out. Little highlights here and there in they're not essential. So really over and this side we've got lots of light, areas of light in this sort of gets a towel or something on that here as well. It's very subtle, just some tiny bits of shadow here on the right-hand side that I'm just indicating, not even there in the in the actual reference photo. Some of the stuff you just have to make up to make it look more interesting. And hey, we got more rooftops and things. There. Might, for instance, want to get shatter that just crosses over this side of the building like that. It's not actually there, but something that you can do. And then, um, I want to get another one that joins on here, that maybe a bit here too. Just all following this same sort of line and bits and pieces or so over the top like that. Soft enough. Some of these little edges here to that. Okay, fantastic. So I'm quite happy with how the background looks at those buildings. I don't want to touch that anymore. What I do want. To focus on now is just getting some color into these buckets, okay, and I don't want to fix that too much on them and take too much time. But we can think examples. We've got a lot of this blue here. If we have some of them in a kind of a warmer color, I think that would make things look quite interesting. So here's a little bit of blue to put in for this one. Okay? The whole idea is just creating contrast. So we want some of them to be blue, we want some of them to be DACA. And we also want some of them to be lata and have little bit of, little bit of orange. So this one here, bit of orange at the bottom like that. We might put in a bit of yellow, for example, for that one with this one here. Okay. We can change things up. And I always like to leave. And I always like to leave some of that white in the boat as well. So just because it's white, it doesn't mean you have to color it in. Okay, so just have a bit of fun changing around these colors and adding in a few bits and pieces. You can even vary the color. You can go from warm to cool and whenever you like, essentially. Okay, so I've got to be here for instance this but here, just getting it in maybe bit of darkness near and near the bottom as well to anchor it to the ground. And I wanted to do the shadow economy at the same time. But I'll, firstly, we are going to make sure that all the other birds in to say just getting some little, It's a detailed things in here. K. Then we've got and now the bunch of boats here that we can popping might use another, like a yellow here to something like that. Mix some of these together. At this point we're just looking at colors. We're not really carrying old too much about what's there. And tangent details and that sort of thing. Just looking at colors. So there we go. Just a big they are these ones in almost sunlight like that using very light washes running down and the air is some of these buds, this area and the right-hand side of the boat is Docker. So just adding some more neutral tint on that run inside like this. And maybe the yellow here. That. But the rest of these pretty much pretty much white. That section in the book. They're tiny bit of lives and running across. And he would go add just a bit of this window or something like that. They're just painting that in quantum loosely. Okay, then we've got these little, what it is. It's a kind of a box, I guess it's with a captain sort of sits in there, I suppose while while steering the boat. So little bit of that in there. So over in this side time to get in some more color, a bit of this gray she makes running through to Amman actually sought to this larger brush number 8, RAM brush to make it quicker. In Lusaka, these brush can hold a lot more water and the other one there. Okay, Just a bit of color inside the Boyd and fantastic. And I just want to get some darkness running on that right-hand side of the BOT-2. So that's just pop that in like that. And how about some red that's popping a bit of English read down the side here. At least. An opaque read that. Maybe go just something different. Maybe go some of these bugs here. Leave the topping and just stop putting in some color. And beneath like that. This boat he just joining this one on as well. Bit of darkness there. Let's have a look for these ones little bit of color in facilities bugs and maybe a bit of blue as well for the S1. Join that on like this. Yeah. Putting a few of these boats, just a watery mix like that. It's just colors and just looking at them as columns. That's all. Nothing more, nothing less. Ok. Give you that. Color for those background, boats and things. Okay, so now what I wanna do, all this is all wet. I actually want to get in some darker shadows and things reflections and leave the bird. So I'm going to mix up myself near neutral tint and a tiny bit of blue. And I'm going to go through with the smaller round brush and it's getting a bit of a shadow underneath some of these buds. So here we go. And if we've got areas where the paint is still wet, that's even better because that's going to allow this sort of fluid feeling joining onto these buds and these sort of, this impression of these waves and repose running through psi. I think this is a good idea to just drop in some of these and chapeau waves, get them to blend into the boat. Okay. Like that. And especially dark and in some other areas where you feel weren't as dark as you wanted in the first wash before. But the great thing is you get these sort of blending on, as you can see here, to some of the colors, that's what you want. Just let them blend and they think. So. These are kind of just reflections, general reflections of these bots. And you can use again, smaller brush if you want to get in more accurate reflections like this. I remember the buds at the background. They don't really have a large reflection, It's mortal ones. And hear in the media and the foreground that you're going to be able to see a larger reflection. So focus on these more than the ones in the background. Okay, Look at that. Just blending together, just allowing this to move freely, the brush. I don't want to ever do it but here, so we get a few more repos here in the background. Moving that brush back and forth. And using my arm also, just really using that tip of the brush. Like this. Smaller repos make those repos lot smaller than the background. We don't want them too big. Because as the waves get, as we go further in the distance, the waves get smaller and lighter. That's how you imply a bit of distance. And your paintings will trickle down. So we've got some daka, daka bits to go. Just mixing up more paint. Okay. Now I want this to transition a bit better so that it's not the way it's not. So super light. In the backgrounds. Just trying to get some dry brush strokes running through some of these background areas and little sharper and takeaways running through as well. Here we've got a bit of this, these three buds which we again carry these repos downwards, just doing once and leave it and join them on with the other books and things as well. You can have like some of these larger waves and things running through don't make them all the same. So have some of them a bit irregular. And joining on like that, a fine That looks better. Having them all run in the same direction. And you've got a, whenever you see a bit of a patent and you just go to interrupt that. And somehow the brain just interprets that is more natural. It's very strange. So continuing on, going up the page, just cutting around bits and pieces. Really want that and that's okay. Think a few little smaller waves and he would be nice. So just joining this area are up and bringing some of these waves downwards as well. Just continuing on to the bottom, we can get some really the waves heating distance. Don't want to overdo it. Mainly some of this stuff here in the foreground, I think is important. Easier. The boat has a darker section up here, so I'm going to stop putting in some bits, some darker bits of the boat. Hopefully to get it to melt in. Just makes things easier bit, little bit easier for me than doing it all nighter. Since I'm here one on editing yet. Okay, so just a bit more color in here, darkness. Or find that the tone is just so much more important than the actual color that you're using. Low the Tom bit of color there. So look what else do we have on this side? The color in their windows, couple of little windows for this one just like that. Whereas if we go just a bit detail in a couple of windows there, this one I've kind of made up. So just putting one sort of vase or something on that up the top. And that one time just a little stripe running across there. Then just looking at some details. And so adding in some little data's. We're going to finish this off now and essentially just put into real dark colors up here, the background, the buildings, little bit more detail into tower at some of the birds in the background and also tidy up these boats in the foreground. So I'm going to mix up a darker color painted. So essentially just some neutral. It doesn't matter too much what you use, just a dark colored paint. And I like to mix a bit of blue in there as well. So we've got a cooler gray and I've got this little round brush and you can dry it off. So get a fair bit of that paint on, dry it off a little bit, and then you can test it out. So here I'm just dropping in a couple of windows. Here, there. We don't have to pay all too much attention. But the important thing is just to, once you touch onto the paper, just leave it so don't go back into it. You can go ahead and change some parts of it here and there, but It's best to just let it do its thing because it will look fresher. Okay, so just putting in a bit of darkness here at the bottom. We can get in some windows for this side here like that. Maybe bit of shadow here. So it's just putting in some small, essentially bits of detail for the buildings to get them to stand out a bit better, especially under the light. And some of these buildings and really crucial to just getting a few little windows in places, rural areas and interest. This the tower as well. I think I'll putting new bits of detail there that too much, just a little bit. And some of these little chimneys and rooftops and things, I just want to emphasize. Mall. Tiny bit more. Yeah. That pretty much does the trick. Gonna go ahead and pop in a few bits and pieces here under this right-hand side now. So we'll just dry brush strokes. Running through is like that. Like that. Okay. And maybe some sections of these boats just pop on the bottom of them like this. Here. She's really fun and the distance you barely see them. And also you've got some little mass and things running through the back for some of the other boats, which I think is good to indicate as well. But remember we get some of these in actually in a darker color later. What I'm doing here as well as just finding some bits and pieces to dark and we're connects on with the water to create a little more contrast in the areas. Also got some of these votes here, which I'm trying to get in. Just a quick indication of into small shapes like that. And we'll be able to actually go in with some white goulash, lighter to put in more details and just indications of some of these bots. Okay, we're going to do is just make these rectangular shapes. And you'll be surprised at how much detail and you can get into the light up. So here we go, Just a bit of this one, these boats and I'm going to put in a little bit of a shadow on that right-hand side of the boat like this. Soft in that age. You should then we've got a more consistent lot source. Here we go. Some of the details on the tops of this is well, like that. What's on top? He had not all that much really. It has just a few little bits and pieces, little things like that. I'm gonna getting some white paint in there actually that would be eta. Some of these little railings as well would be nice indications of them. Because we've got all these white in these. I just thought that would help to break it up a little bit smaller, but they could have color on that side. But if blackness there, join that on, strengthen the bottom of the boat as well. Just weird hits the ground. The ground fees, the water. Be more strength. Some areas. Stuff over here is just quite indicative work as well. It's not so obvious. What is actually in goats getting a few bits of this railing as well. These were doing is just detailing no other way to explain it. And really it's just finding areas that you want to dropping more detail. And this should actually be further up. So it kinda comes up like this. And then you have this sort of section up here which we can get in some white paint, lighter as well, but I'm just drawing in the paintbrush. Think of it as that. That's why when you practice your drawing skills, you you improve your painting skills at the same time. The shadows and stuff from the from the railings, things here, maybe dropping a bit of orange oil, warmer color in there as well. It's just all too blue for a moment, so just a bit of yellow. And there's something there anyway, it looks like a sec. Okay. Leave it a shadow across another to this boat and that rot. There are a few of the buds bit closer here, maybe another one here. Just a small alone. Tidy it up for my Medina. Okay. Can a little bit of whitewash and pick out some details. It's a ballads and things of the sides of the boats. These little bits of rope, for example, running down the sides of the book like that. It's always a good idea. Indicates some of those bits and pieces running off. And like that. And I'm going to put in some mosques and things as well for some of the buds. And the reason why is I don't just wanna getting a little flexion of some of them. So this might have one like that. He's might have feasibly two smaller ones like that. Just some of these bits running through reflections, running through a Fonda, helpful and really helps to recover part of the whites of the paper as well. If you've gone a bit overboard in areas and you would just indicating some mass and things as well. Beautiful lots on the sides of these boats. For instance, like that. Smaller ones here and the distance. And that's belonging to those bugs. Just making some detail in areas. Don't be afraid to use washing your paintings. I think it's an essential component in a lot of the time in order to get some of these highlights. And at the same time still and have a nice wash running through everything. Rather than stopping to try get that wash and cut around the bits of highlights sometimes is I find a lot better and easier to do it this way. Here we go. Just get in this top section here. And I'll finish it off just putting a few little birds in the sky. I'm going to be two of these. Okay. We're finished. 13. Saint Tropez - Sky & Ground: Okay, We're gonna make a start on this one and go ahead with the drawing. So this is a really interesting scene here, and we've got essentially all these complicated buildings out in the background. And on the other hand, we've also got some water down here. There's a little wall and I am thinking to actually reduces down a bit more so that we can get a larger view of the water, might even get rid of that war altogether. And imagine a scene where we've just got the poles coming down hitting the ground. So thinking I might actually go with that. We'll see how this turns out. A lot of the time. You don't need to put in exactly what's in the reference picture. You've gotta do what's best in terms of what you feel. Nice, New Deal as best. You need to do, what's best in your mind's eye terms of what kind of scene you want to put your a. So I'm going to go in. And firstly, the easiest bit is just putting in the horizon line. So just where a lot of these buildings to finish off. So it's kind of a ground halfway down, a little bit more than halfway down the page, sir. Almost. Not a third, but close to that. Just a little line running across like this just to indicate some of these buildings where they finish off here at the back. Okay, and what I wanna do now is try to get in a little bit of these roads. So might just start off from roundabout here like that. And we'll get in very small indication of this road like that. And then this one just sort of comes in, rant about here, near the middle of the page and middle to the left at the back there. And comes forward here. That's curving towards the viewer and then exiting out all the way over here. So it's definitely quite a decent curve out the side there. So I think that should do the trick. We've also got a little bit of this path. Interestingly enough, coming over, across here that this sort of comes out a bit more actually the path like that. Okay? And then we've got this, this war now, I don't want to make it all too obvious, so I'm thinking I might just reduce it down a little bit. I don't want to get rid of the entire war because I'm actually interested to get in a bit of a shadow coming in here on that right-hand side. So I'm just going to drop the size of it down a little. And we'll work on it like like this. And we've just got more water in there and I'll just draw some of these lines coming downwards indicating this wall. And then we can get a bit of a shadow running across to that left-hand side of the page. I don't know what this is. It's like a bean or something like that here. May not even get that in here, to be honest, I'm thinking I might put in a couple of figures. So the cool thing is that we've got a lab here which I really like these these lamps are pop that in just a basic shape of it coming up around here are one, a lot of these to be done with the brush later. So I just really placing where I want it to be asked to leave it around a bit here. And then we'll get in a couple of these lamps that come down like that. And a bit of the top section of the labs as well. So we can go ahead. This one's a bit higher up like this. Yeah. And there we go. Here we go. And just the top into that lab. And I think that should be sufficient. Merely just a quick little one like that. I may even put a third one in the center, but we'll see how we go for later. Another thing I wanna do is start getting you just indications of where I want to put these some figures. So I've got a little bit of a drawing of the figure here. Just decided to put see if we can put one in there like that and maybe have one of the legs go forward a tad more. And to sort of have this view of the figure and moving. Let's have a look, something like that. Maybe the figures about to cross the road or just having a look just over the the war. I think that's quite a nice sort of indication. Just a couple of figures here standing by the side. Okay. May change them a little bit later, but happy with how they generally look at the moment. Another thing I want to do is just have a look and pop in some cars and are getting this center region of the road here as well. And we can pop in some costs. So, you know where this building starts over the side here. You can see there's a car he kinda when it's facing the side and I can just get that little error of the car in like that. Bring that down more here. We've got a wheel here, sort of touching the ground. Another we'll hear in the back, you know, really exaggerating that boxing is of the car. Well, something like that, which we can further emphasize later on. And again, some overlapping shapes. We've got a bit of this car coming to the front here. And the bill could Bonner of the car, I mean, sort of coming down like that. And again, you know, that tire just underneath the car there. There's another car behind, but I'm not going to get that window and I'm going to focus more on this one here like that and get it a bit of the side of that car as well. So just imply the perspective a bit more like that. We'll hear another wheel here like that and maybe a wheel here. Okay. Sorted just parked on the side of the road. Really, really haphazardly like this might tidy it up a little bit later. I'm not too worried about it now though. We've also got other cars coming in, so we've got a car here. I'm going to just enlarge that car little bit more and start getting in some small details. The tires here of the car underneath and another one, a bunch of other cars here in the background. I think that's a good choice as well, just so that we can get in. Again, just that sense of depth and perspective. Okay? Another one I want to put in is just around here are larger vehicle around the roundabout, huge GISTIC get one that's coming in a bit closer and come to think of it. This might be the kind of back of the car as well. So I'm just gonna I'm just thinking if we have two here. So if I've got one here and then one in the front, I think that will look a little bit better like that. So this sort of overlapping and we've got a larger vehicle over here as well. I'm just making this one up, getting that back. Air the car in, some of the wheels underneath like this, like that and that way and what I can do is getting a shadow running across the left-hand side for these two cars running through as well. So I think that's going to be I think that's going to work. Okay, so going through and again, I'm just having a look at these figures now and I'm thinking that they're probably a little bit too small compared to this car. So I'm going to go ahead and just enlarge them a bit. Sometimes you have to do this for scale, we just need to make sure things are obviously making sense. And often you put people in and things obviously a bit earlier on and they make sense then. But afterwards, obviously when you get in the rest of the painting, need to adjust it. So normally I just stick with whatever I popped in here, but it's really good practice to make sure things are to scale. Now they look like they're walking this way. So really good as well because we can get an another shadow coming to this side. Ahmad even look at getting in a figure here, just sort of walking towards these other two. So we get maybe leg there. Let's have a look in another lake coming off to the back. Let me just redo this to make it look a bit better and get the head more slaughtered over this way. Then we can get in the leg there and in other leg here like that. That should do the trick. Just a really basic figure, something like that. There. Maybe another figure here as well. Just to help with the perspective of everything, we've got so many figures walking around and having some smaller ones is just going to aid a bit with the perspective. So I think this one's too small. So tends to telling whether things are too small or too big. Just look at the surrounding objects. So you've got these cars here and, and so you want the figures to be around the same, just a little bit taller than the cause. So and this is kind of looking like the cars are going up the hill, so that's all right. But generally speaking, this sort of representation here is going to give you that nice sense of scale. The fingers a little bit taller than the car. If you make it too small, this is just not going to make sense. So always make sure you keep that in mind. Okay, So that's pretty much the figures, the cause in here just more or less done. What we're going to do now is go into these buildings. Okay, so we've actually got a bunch of boats here too, which we can start obviously getting in at the same time. The boats in the buildings we just gotta pay bit more attention to, which is going to get the top of this top of this war in. Define it a bit better. And for example, we've got a boat here just going through indication of a boat, tugboat or something like that. And there we go. Pretty simple. And we'll get another one in here. Again, sort of facing the same direction and pop that in like that. Really real basic grade thing is tried to get some of these to overlap as well where you can. Okay. So they don't need to be all that detail that they just need to make sense in terms of that little shape at the bottom. These rectangular sort of shape and having a bit of this sort of to kind of rectangular bits here. So see the front of these boats are a little bit kind of a downwards like that. So that can be a larger carry a boat or something like that. These can be some smaller ones. For scale, I might put one, just a larger one over here. Just like this. The, there we go. So we've got a variety of different bird shapes and I think this will be nice as well to get a bit of a reflection in the bottom. So I'll make a larger one as well, maybe going out of the At little bit like that. Okay. Another one here. Sometimes this is just part of the whole design process of, of just making it. Making some of these shapes, putting them where you think will draw a bit of attention creates an additional interest. So we've got balance here, but all these cards here I think we need to make, fill up this area with some boats. Okay. That's looking a bit busy now so I don't want to touch it anymore. We'll go over now to these buildings in the back and also to the ones in the far distance. So one in the front is really important and I want to simplify this town as well. There's so much going on in here. So there's sort of like a pagoda or cover, something like that. Looks like a restaurant. And it just has all these little bits and pieces coming down like that. It doesn't doesn't really matter. Honestly. We just have a little bit of detail there. Okay? The main thing are these two buildings in here. So what I'm gonna do, I think I'll get rid of that. I'll just get rid of this tree. And all imagine side of that building like this, I'm thinking is well, giving it enough room so that we've got this larger building coming into side like this, coming down here. This can be the edge of that building. There. Couple of these little arches here like that. And that's sort of curves off into the corner like that. And then we've got this bit here. And maybe this sort of side section like that. Pretty simple. There's a couple of windows here as well. Just mark them out the side of the building. Chimney or some sort here too. So some indication of that. Bring that down. And then we'll look at sort of extending this one all the way down to random. But here I'll say this car is here. So bring that down the page like that. Kind of thinking, what else do we need to do? There's also a lamp here. I'll just quickly indicate. Like that. Maybe another one here, further down as well. All of this stuff we can get in a bit better later on. Great. I'm going to simplify this down as well. So let's pop in as a sort of indication here of this inside of this building. Some interesting shapes here. We've got kind of pops out like that. And then a section there. Again that just does the same sort of thing. So I'm just going to get that in. This can be a bit of darkness running through that building. And we've got some little windows here as well. Following this general perspective. And using that to drop in some little windows, indications of detail like this. I'm not really putting in too much here. All I'm doing is just kind of marking out these general rows of windows for later when we go in with a brush. I don't want it. I don't want this pencil too. Show through. Everything's just using it as a tool to mark out and plan where I'm going to go. Raise that have to be like that. Okay. We've got more buildings here. More little windows or main. Okay, fantastic. So for the most part, and this is the difficult bit done now, all of this stuff in the background here, all of these buildings, you can be a little bit looser. So I've gotten a bit of detail here for this building like that popped in that section of the building, there might be a rooftop or something. Look like that. I'll just make it up a rooftop there. And we've got trees at the base. And we've got this larger one here, apartment block it looks like, and bring that down and get that side of the building in like this. Okay, fantastic. Remember that we have a light source coming in from the right-hand side. So a lot of this stuff on the left outside of the buildings and things that are going to be in the darkness. That's something I'm exaggerating in the actual finished painting and it's not present here in the actual what do you call it in the actual reference photo itself. So always remember that there are things you need to edit up, change around in the actual finish painting the finished product, especially when we're reducing so much of this detailed down. We often have to add a little bit more contrast and drama in here that's not there in the reference photo. And it looks it might be if we took the picture at a different time. Who knows, We could they could be a lot of shadows and things like that in there. So it's a wall that starts or random bet. He started a little bit further and skip that in just a kind of war. I don't know what it is. But it helped him mark out the area behind the ear on the water. And there's all bunch of trees and that kind of thing. Maybe there's a wall here. The rest of this stuff. Just look at it in terms of rectangles and squares and geometric, very stark geometric shapes just running up. It doesn't have to be perfect. There's something here. I don't know what that is. It's like a wall or something going up and then there's a house here, a roof of a house, something like that. And there, I've got another house here. So just changing things around and exaggerating bits and pieces. Okay. This looks to be some kind of a cliff or I'm not sure what it is. Oops, you get that coming in like that. Part of that wall and is sort of a cliff with things here. Then we've got this wall and then on top of that we've got these sort of interesting little arches like that, just indicating not get too bogged down in what I think is happening up there. Okay, And the interesting thing is through these bits of houses and things, we've got trees. So having the darkness as well contrast with all the lights of the buildings. That's how we're going to bring those buildings are, these ones here are going to be the most important ones. On top. We've just got basically a lot of these other buildings that sort of stick out of the mountains and higher ground and all this stuff here is just tree, trees essentially. So changing bits and pieces up. Editing it around all of it. A lot of the time is usually a rectangular shape. That's all I'm doing, just putting in loose rectangular shapes using my arm to draw this whole scene essentially not sitting there all day trying to figure out exactly what's in there, keeping it pretty loose and changing around some of the shapes where I can, you know, that can be a rooftop of something. Another one here at the back. And as we go further up, just make these buildings a little bit smaller. Again, for this sort of feeling of depth in the painting and perspectives. It gets smaller as we go. You can barely see what is happening in here. These little marks I'm making on the paper serve as a reminder for me later on to just cut around when I'm doing bits of the trees, all that kind of thing because it's so easy to just forget about that and go straight into that area and color it all in. But we really want to make sure that we've got some of that in. So now time to put in the mountains. So that's actually one that comes around the edge of the building here, background. So we'll just pop in blue bit there and then we'll go cross. There we go and let's pop in this mountain. And it comes all the way down here, further down, like this. And out of the painting there. So I've exaggerated this a lot actually, I wish I had a bit more sky in there, but leave it in and see how it sort of turns out. All I'll do here is just, again, finish off this section by adding in a few buildings and things, just square sort of marks and that sort of thing in here. To put in more detail in that it's just it's a mess in here. It's really, it's quite a mess and you want to imply shapes and things in here rather than sort of spend all day trying to get everything in exactly. So. It's not going to work that way, especially with watercolors. You can it be disappointed if we end up doing that? So some more, this area here I think needs a little bit more. Just a little bit more in their wall comes up. So a wall that comes down and it comes up, joins on. And this area here is just filled with sort of rock and tree and all kinds of things in there. There's a kind of cliff or something here as well. Fill in this section with a few little square marks and buildings of further up in here. Okay, fantastic. And we might even want to put a figure, just ran a bat, just kind of thinking what we want, what we want to do here. And I'll put a figure. Just crossing them right here. Say thinking probably here so that it doesn't sort of get in the way of the boats and the other people that crossing over. I'll just need to launch this body forward. Actually bitten more like this. Which means the head would have to unfortunately getting away of these boat here in the background. But you have to do what? We have. Another figure right here. Fantastic. So this is, I just thought we needed that to get in a bit more. For another figure here in the middle of the page, bounce everything. So a drawing is done. Let's go ahead and get started with the painting. Okay, so what I'm gonna do first is we're going to get in and really light wash. And for that, we're just going to raise the paper up a little bit, just a little angle. If you've got a small magazine or something like that, a thin covered thin book just pop that underneath just so that we can have this wash run down the page. Okay. So firstly, what I'm gonna do is work on these buildings and bits of the rock behind there as well. I'm going to get into this whole area is just pretty much going to be wedding where everything we're going to do, wet into wet here, get a nice wash over the whole painting. So firstly, pick up a bit of yellow. So this is actually a combination of Naples yellow, which is a creamy sort of yellow with a bit of yellow ocher as well. So I'm going to go pick up some of these some of this color and I'm just trying to get a pretty warm. I've accidentally put it in a bit of the blue from our previous wash brush. I'm gonna get rid of that. Let's go ahead. Let's make it more warmer in there. And you can pick up some lemon yellow as well, drop that in if you want to brighten up the color in there. And just yellow EpiPen, some yellow. Think about what else I'm going to mop brush. So this is sort of letting me getting quite a bit of activity here and going over the, the lamp as well, we can reclaim some of that white later on. I think it's more important that we have and even wash running through everything. That's going to be more crucial here. And let's try to get some more of these yellow, just some more broad to yellows running through. I think some of that yellow and there's just getting dolled down a bit. And we don't have to make this too dark as well. Use a lot in off some of that. Just wash it down by adding more water. We still want to keep it pretty light. So here we go. Going down into these buildings like that, that's popping some yellow ocher. And then the other thing is we don't have to get in all of the Year in yellow too, we can sort of just popping bits of y or cut around areas of the buildings. So if for instance that one there for me just cut around that one, pop in a bit of highlight there, like that bit of highlight for that one, you can go ahead and do that as well just to leave some of those watts on the paper. I haven't really done it all too much in this one. But it's just one of those things that you can do. And going just going through the page, I'm working my way further down as well and leaving it just ran here where the wall connects on with the water. So that in like that, now this building here is a kind of orangey color, so I'm going to pick up some burrata orange and let's try to drop some of that in like that and has to also be darker. Remember, because it's closer to the front of the page. So go in, pop in a bit of that orange here like that and get that to sort of blend in a bit with the wall served with the buildings here and then right-hand side, which is cutting around this building and the front cuz I wanna get lots of Naples yellow running through there, essentially. With the rest of this. This is all you need to do, just getting a lot little wash like that. I mean, you can even leave a tiny little line. What line? Like these areas to then have to get the whole area to mix in. Say, there we go, just popping that mountain in the background and with a bit of yellow. Because if we mix a bit of blue in there been a green in there, that's just going to turn to green anyways. It's a good little thing. Do bit more Naples, yellow, especially up to the top, very light wash like that and a hexane. We've gone over all those buildings that I have left. What not to worry. And coming down to this one, a little bit of Naples yellow, I think for this side would be nice tiny bit of Naples yellow. Drop that down and I wanted to mix or too much with everything. And we've got cars and everything here in the foreground to this is where you can swap to a smaller round brush and do a little bit of cutting around work in areas, just leaving the wind screens of some of these cars. I've already kind of gone over one of them, but that's not be and just continue on. And just cutting around this one as well. Like that. There are these two cars, I just want to leave them white. Okay. And here we've got another section down the bottom here, which I'm just going to Doc and off and blue, add a bit of color in there. Um, and it's good to have the right model because if you've got areas that a drawing off and you can start to rewet them. Because what I do is I just want this top section to blend in a bit with the sky. So I'm just waiting that so that it doesn't draw it completely until later. Okay. 14. Saint Tropez - Cars/Buildings: I'm coming down here as well. Interesting thing we're going to need to do is blended in with the ground. And I'm going to use just a little bit of this gray down color. It's basically neutral tint with it. A little bit of blue mixed in here. And say just to kinda grayish blue to help contrast. And I'm going to cut around that will cut around these cars and things because they're going to be different colors as well. But getting his own wedding where is important? I'll put in a bit of darkness underneath, like this. Just at the base, tiny bit, a tiny bit of color there, the base there. That let's not get distracted. We'll go here to this side now. Pick up some more of that neutral tint. Lets drop that in and carry this down like that. Okay, we're going to make it significantly darker than everything else because the road is actually quite a dark, current, dark times. And we're cutting around them. These cause the figures don't worry about them as well, just cut around them. Um, there's a wall here which I'll getting with a bit of Naples yellow just very quickly cut around those figures. Don't worry about the pants bit more sort of like the torsos. So just a bit of bit of warmth. Move warm color running through here. Okay. Nice. All right. And back to the sort of neutral tint color down the bottom. And putting a little bit of blue, a little bit more blue in here. As we move further down the page, like this. Connect on, Connect that onto the yellow as well. Like that. I mean, just re-wet that sky quickly. That's okay. And I'm dropping in some more of this neutral tint here, the bottom. Just want to sort of get it in quickly. Mnr can probably add in some more color on the top, just a dock and down, especially near to the front, we want to darken it down significantly. And as well just also putting in a bit more of a bluish hue there. I also think maybe a purple would be nice, just a bit of a purplish color. So I'm just going to drop in a bit of little bit of coloring here that it move across and do its thing. Okay? It's crucial to have a logic brush when you're doing this as well. Just mix the colors, blend Lhasa and don't have too many little brushstrokes running through the entire thing. Okay? Maybe bit more darkness this bit here. It's just, it's so subtle, it's really so subtle this section and we want to pop in a bit more of that purplish sort of color here on the left-hand side. So that it forms a very soft gradient like that. Leaves enough light as well. When this is all wet. That this is how you essentially get get these really soft transitions. You can only do this while the paint is wet. Oops, gone too far into that car, that's okay. Maybe a bit more darkness here. Just sort of touch up and look at it from a distance. Think is it dark enough, is it not? Okay. Great. So I think I might just leave that down there at the bottom. And what I'll do now is getting a bit of color for the water. So I'm going to mix up a turquoise. He sort of collaborative, certainly in blue with a tiny bit of Naples, yellow. And this is what I'm doing. I'm just going to basically go through hopefully some of these areas do with actually, I don't want it to be completely shop through the whole area, but if it is, we will deal with that light up. Just a bit of cutting around for the boat's. Probably use a smaller brush for this. It's getting too complicated. Especially with the stuff out in the distance here. And we've got a bit of mixing there. That's what we want. Just some of that, those soft edges so crucial to have some of those soft edges mixing in as well. So I've got some figures here, more boats and we're just going to cut around these boats very, very carefully. Here we go. And bit of the wall years, well, more cutting around these bots like that. And this is basically called negative painting, where we are using the white of the paper. Essentially just cutting around everything else. So this is how easily draw around these shapes. Okay, so there we go. Just getting a bit of this in like that. More the figures cutting around the figures. This is not going to be perfect. You're going to get Sections kinda similar to up above here where you're gonna get some interesting mixing going on. Then I want this is a thing There's a bit of Galatia gets mixed into the mixed into that accidentally, but it doesn't matter. So again, just cutting around and let's go ahead and do this one here. Okay, great. It doesn't look too much like that one, but we can fix it up later on. And continuing on here, I'm going to need some more of this paint. Mix up a bit more turquoise color. Okay. I'm exaggerating in that balloon when the reference photo as well. I wanted to contrast with all the yellows at the back. Okay. Maybe that's top of that boat then coming down here. And the guy that's another one is to figure cut around this figure here like that. Join that onto the wall. Yeah. Maybe guy. And he is the other book. And here as well cut around this boat like that there and testing. Okay, So that's pretty much it. You can add in some little darker strokes in here as well just to get in some variation. Darker waves or what have you in here like this. I'm not going to spot and put in a few here and there. I don't want to overdo it though. Little bits and pieces running through. We can get into these lighter on. Just a few strikes would be nice. Okay, so now what we're gonna do almost forgotten the sky. So I'm going to get into a very light wash of this kind of spirulina blue color. Maybe with the move why? Washington? Just a very light cerulean mix like this. And if it mixes in with the yellow, that's even better. Just a tiny little, a little bit in there. People wide. Just want it to be quite a flat wash for the sky. Nothing. Nothing fancy, really. Bit more. Then you have to keep it pretty light. So the sky contrast with the darkness of the water and some of the buildings in the trees and the buildings and main and say, this is essentially just what I'm doing, just lifting off a little, paying, maybe implying some clouds and stuff like that in here. But that should be pretty much it. So we're going to let that dry off and we'll come back to it. But what we'll do as well is while I'm here, I'm just adding some light colors to the figures. Give them a bit of little bit more interests. So this one here, I'm going to pop into bit of orange. Just a bit of orange in the shared, that kind of thing, like that. Very light color we can lift off if we've gone in a bit too heavy there. If it mixes, don't worry too much, just well, maybe we got a bit of pink here. What looks I thought was pink. Just a little bit of. Color like that. This is some more little bit of pink. Okay, letting it blend on and join where we want. Okay, let's put a bit of red here. Just a warm color. Help contrast with the water. Water. Some more here. We got this section actually shoot. I have forgotten to color that pidgin, but we'll, we'll make do with that. They're going to be the color for this figure crossing the road. Blue like that. We might just get instance yellow for this one here. Let's do one stroke of yellow. Nothing too out of the ordinary. And we might look say, at these cars and that's getting a bit of a bit of a warmer color here, just to be a yellow for this car, like this. Okay, just pop that in and drag that downwards like that. Okay? The other car we can, for instance, get a bit of We'd go for a bit of purple or something like that in front. Just keeping it really light. Very, very lot. Because I'm not trying to get any data, I'm just trying to get a basic background color. Okay? These cards here, I'm not getting blue here. That little blue collar running through like this. And this one put in a bit of red there. The one that's sort of just jutting out like that bit of that color. And this car here, Let's go back to blue again, back to blue. Drop that in there, okay? And we can do this for this one as well. Bit of blue in for that car. Notice how I'm just chopping and changing these colors around so that we have some interesting combinations of shapes and colors in here. And if it mixes around and sort of causes a bit of trouble in here, I'm not too fast with that. We'll just end up just work with it. And we'll leave this to dry off. Okay, it looks like everything is all dried off now. So what we're gonna do is we're going to start on alleles mountains off in the background. And we're going to work from top, bottom, cutting around a lot of these buildings at the same time leaving some space here, some of these other buildings and hopefully getting some of these cliffs and things like that as well over here. So let's go ahead and I'll show you what I'm going to use. We're going to be using a number eight round brush, number 6 round brush and a number 6 flat brush case. So 1, a bit of detail, a little bit of a control here as well. And the mixing of the paint's really important. So I'm going to pick up a whole bunch of dark paints and I'm not going to worry too much about the exact color. All I want essentially is just to get an a few different grays. So Just a bit of gray here. Another thing I'm gonna do as well as pick up some green, mix up a bit of that here and that right-hand side of the palette just at the bottom. Okay, so a little bit of that. We've also got some other greens here that I'm going to just drop in to get a bit of variation in color through here. We want midtones here, very light colors as well. So not too much darkness was sort of using quarter tones and midtones. Okay, so trying a few different greens and just mixing up a little bit of water there for those greens. I've got a lot of these grains left because I don't honestly use them that much in some of these are quite opaque and color. Emerald green, I think I've got hookers green. Anyway. So just a few different mixtures in the first place. In the top here That's mix up a cooler gray color. So I'm just putting in a neutral tint with some blue. And then we'll go so neutral tint. Lets say here with some red and running out of space on my palette, I'm not after just put some up the top where it's not quite visible. So I might just do that. It's going to have red paint and neutral tent up the top. That will do the trick. Okay, fantastic. So first things first, I'm going to go ahead and get in some of the top areas of these mountains and not too fast what color this is? As long as it's the right consistency. So just dropping that in this is a little, little flat brush here. And go ahead and just get out the borders of some of these. And trees and things like that. Often the distance and I might swap as well to this smaller round brushing areas to gain some different shapes and use the natural shape of the brush to imply some of these trees. So over here as well, we've got a bit, a bit, There's had been green next section. Remembering to cut around this area here of the rooftop. Tiny bit of cutting around and just like that. Okay. Leave that in there. Bit of a soft and the edge here as well. Okay. But a dry brush up there too, that always helps bit of dry brush using the side of the brush like that. In some areas I find that helps soft and things down a little. So moving further down the page and I'm leaving some bits of the watts on the paper and the y, but I guess the warmer orangey sort of color. And taking my time here, just going to cut around this building. Again, just being quite careful not to go into the building, but to cut around it. Okay? I'm moving downwards. And the great thing here is that you can just sort of use them. This bead that you've accumulated here to cut around bits and pieces. So you're not essentially using. So we're just going to go move this across like that. Maybe we have an area of cliffs here. So I'm just going to use the side of the brush like that and we'll get in a bit of indication of a dried dry brush sort of area. And maybe here as well. I want this area pretty pretty interesting and varied. Okay. And I like to also have myself a new spray bottle here so that I can get a little bit of water in there when the time's right. A case and then say times, right. I mean, when it's just damp. Okay, so just going a little bit of cutting around this section here. Okay. That I remember we've got light source coming in from that right-hand side. So if you want to put in little areas of light and things like that, this is a good place to sort of just imply some shadows and that sort of thing as well. I'm not taking too much time to do all this stuff. I want to get this all in one very quick wash and just cut around some of these bits and pieces in here. Okay, so we've got moreover the side and we're going to be too far up like that. Move this down. Okay? And the, the important thing is just to vary these terms. So we've got a lotta up the top, but I'm going to add in a few bits and pieces to dock and here and there, especially around here, we've got more contrast around some of these buildings and what have you as well. So leaving just areas of the paper that white the previous wash or the paper anyway. Third, K. Carrying this down, we're just using so many different colors. And here it's kind of greenish gray. Tons of colors carrying this dam. So important to leave these little bits of white showing through the paper and the previous wash. Okay, and I'm just remembering here as well, they do have a lamp or something. So I'm going to cut around that like this so I can get it in a little bit lighter. So just referencing, looking at the reference photo and trying to getting some of these lovely areas here just contrasts. That's the key, these little contrasts. And really it's not even that much work I'm just doing what's a cutting around. And here I've got just some quick indications of these arches like that. I don't even know what that is, but I'm just going to pop it in some bits and pieces up the back here, like that. Tree going up. Now the tree going up like that. There we go. And coming down here. We'll do this bit as well. I think I'll get rid of that section like that. It just looks a bit too much. Say it's trumping some more of these colors in here. And notice that I'm just carrying these all the way down is bead of water like the soil leaving some of the rooftops and things in as well. So yeah, that could be the side of a building or something like that. Here. As I come down the page, I'm just adding a little more subtle, little bit more water, a little bit more paint on me in here and darkening that down. It can even spraying bit of water on the top bit here. Getting some little spotty sort of effects like that. Soft than that down and encourage that water to go further down the page. Okay, say buildings, we're going to draw out the details lighter. We don't need to really worry about them yet. The only buildings that we need to be more careful with outside, just these ones here. So we haven't got down there yet, but I'm going to get there in just a moment. And we go dig and get some pebble year to cut around this building. Buildings and things in here. Carry these. Wash further down the page here. Just going to be more careful. So I've got a little part of a building which we're gonna get in this slide like that. Bringing these all the way down the page to the right of that here in the causes of that sharp line there, and do the same here on that side as well. So just the blue color here to indicate some darkness in that left-hand side of the building. And then behind the building. I'm going to make that darker. Yeah. Some bits out, kind of join on. But for the nice part about it, we're just going to leave some bids dark, and that left-hand side of the building has to be DACA and joined on this one big shape. And I'm doing this quickly as well. Don't wanna take up too much in that time. So moving over to this side now we, again, we've got just buildings and things here in the background. And using the sort of to cut around these other buildings. Just having a play around and adding in bits and pieces in here. That lots of color and lots going on here. Some of it, which is just implied. Bit of darkness here on the left-hand side of the building again, little bit of darkness. Okay. Continuing along in a more kind of cutting around somebody's houses and stuff like that. More buildings here. Then to the look, what else do we have in here? You've got some bits and pieces here. Just add a bit more darkness in some areas, just dropping and let it bloom and settle into this section and do its thing. I think that's important just to vary up the tones again. Going across here, it's going to get the speed underneath. And again, bit of color here. This can be sort of bits of tree and shrubs sort of on the, growing off the H like that. Okay, Great. Given a bit of color here, but it was shadow here as well. If we're building a building, they're just imagined. A shredder running to the left-hand side should see if we can join some of these shapes up and b and get to sort of areas of rouge and maybe flaws and things like that. In here too. Very light very light. Lines running through. Don't want anything too obvious in this section. Okay. 15. Saint Tropez - Finishing Touches: Fantastic. So I think what I'll do is I want to drop in and paint and flicks and paint in there. So we're just going to tap into to paint. In some areas. This get some variation running through their darker blue as well. Some spots. Let that mixing and do its thing. Okay, great. So I'm going to now start doing a little bit of this area here. And I'm seeing you some neutral tint mixed with a bit of blue. So we've essentially got all these cars and figures, everything like that here. So we can actually start, I think we'll start around about here. I'll want to work on these cars first. And let's get into a bit of color running through the back of that neutral tint and some. This is just a bit of blue, ultramarine blue. Okay. I'm just dropping some color here back in that calm down towards the bottom as well where we've caught these ties, hit the road like this. Mostly got this guy here. So I'm going to do this pretty quickly, just a, get these Hathaway and leave a bit of that light. Also on the cow. Just to indicate shadows. That's going to tie their mind even. Just thinking, where can we get the shadow? We just dirty up the left-hand side of the window. When shoes like that. Soften that edge a bit there. And now we've got a car here as well. So this is helping a little bit of the detail here for the car. And kind of facing that direction that the sunlight hitting the back of it. These can be the wheels, ties, that kind of thing. Running across that section like that. And we've got another guy here. Water down a little bit of darkness here for the tile. 16. Class Project: For the class project referred to each demonstration video and sketch two or more of the featured landscapes in pencil. You can also refer to the drawing template which I've uploaded, which will simplify the details to basic lines and elements. These you can use to also trace. Practicing drawing is an important step in improving your painting skills. This provides you with an opportunity to compose and plan your painting. Traveling along to the demonstrations, used the steps and processes explained to complete your painting. If you finish the six landscapes featured in this class, pick a royalty-free photographs or perhaps whatever you own landscape photographs, using the processes and techniques described, create your own unique painting. Finally, upload your paintings. If you have any questions or would like feedback on your work, let me know and I'll get back to you.