House and Building Portraits: Line and Wash Essentials

1. Introduction: Hi, I'm Dara from watercolor mentor and welcome to house and building portraits, line and wash essentials. Line in Washoe was my first introduction into watercolor. He combines the benefits of both mediums and is a great way to learn the basics of drawing and painting. Buildings, especially homes evoke emotions, a sense of place, belonging was deeply personal memories. In this class, you'll learn how to create portraits of various homes and buildings using pen and watercolor. You'll learn how to apply drawing and painting techniques to create portraits of any building. There were so many things that I wish someone had walked me through when I was learning line and wash. I want to share these essential tips and skills with you so that by the end of this course, you'll be able to show off some beautiful line and wash illustrations to your friends and family. This class is aimed towards beginners with six line and wash demonstrations, which I'll help guide you through step-by-step. Their scans, drawing, and tracing templates included as well for each demonstration to help you transfer your drawing over quickly and easily. You also have the option to follow along to my real time drawing and narration videos for each scene, I take a different approach from other instructors by narrating my demonstrations in real time. I explain every technique I use in the context of the painting, such as using watercolor to paint shadows and a building. I'll be going over the basics of pen and wash sketching. I'll talk about what materials you need, your options, which ones I use and recommend. If you have a pen, some watercolor paints and paper, then you're set to go. I'll show you how to sketch with a pen quickly and accurately. A variety of techniques, including drawing lines in segments, hatching, and using different size nibs to your advantage. Also demonstrate essential watercolor techniques you can use over and over again for any painting. So join me in this class. I'm excited to show you and you create some beautiful paintings and drawings that you can be proud of. 2. Materials Required: Okay, I want to talk a little bit about materials, especially the pens that I'm gonna be using for this class. And it's going to help you to understand the different marks that each UPENN makes help you, especially if you're out there buying some pens or if you're deciding what ones to use at home. Some of the watercolors I'll be using as well as the paper. So there's two sets of pens that I use for a lot of my pen drawing. So these here are ballpoint pens and they all have permanent inks, or even these ones here on the left which I felt tip pigment liners. We'll talk about these ones first. They all come in different sizes. So this is a 0.7 millimeter nip. This here is a 0.5 millimetre nib and there's a 0.38 millimeter. So essentially they just get smaller as you go down. And I've got three different ones here because it just helps you to getting different sort of shapes, different strengths. So if you're thinking of making a scene, drawing them in a scene with some figures walking around in the foreground and the House and the background. What you can do is that you can use a thicker line or two during the figures in the front and thinner lines to draw in the details and the back. And it just helps to push back and bring forward and different objects. So it's just a little trick and another tool up your sleeve. And if you do only have the 0.5 something in the middle, that's gonna get you buy as well. So don't worry too much about that. The main thing is just to have a kind of pen that has permanent income. It's important because that's going to stop the pen from running everywhere when we go over in the watercolors after these pens here on the left, they pigment line is, and the main difference between these and these is that the nibs just a little bit different. We've got them made of these kind of felt material. I don't know how to really describe it, but they're just a little bit more loose. So when you're drawing and less rigid. And I wouldn't say one is better than the other outside that it just depends on your style and how you draw, what sort of lines you like on the page. I tend to prefer these ones even though they're a little bit more rigid. There's a sense of finality when you drawing. And that line is very, very clear. There's no sort of white bits in the middle, these ones here, when you draw it really quickly, what happens is that the pencil skips over some of the indentations and things in the paper. Especially if you've got medium to rough sort of paper, textured paper, it does skip over little bits and pieces. So the advantage of using these is that you can also go back and correct or sort of readjust areas a little bit easier than these pens. Now these come in a set of six. How many is it? I think it's 65 or six. And basically just go from 0.05 millimeters up to 0.8 millimeters. So kinda similar to these. They come in quite a decent range of nib sizes that just allows you to get in different shapes, emphasize shapes and the front. De-emphasize shapes in the background of push things back if you don't want a really thick lines. So it's a good idea to have a few of these. But like I said, if you can't get anything, if you can't get a set of them outside, get something between 0.3 to 0.5 millimeters as a nib that one pen will get you buy in this entire class. So we've put these away and I'm going to talk a little bit about what else I have. That's important. So this paper here, it's actually comes from a sketchbook that I use, and it's a 100 percent cotton watercolor paper. And it's a cold pressed or medium sort of texture. And you can use medium to refine, recommend medium or even hot press. Because what happens is when you've got paid with it's really rough. It becomes quite difficult to draw with your pen because it just sort of goes in and out of the indentations did more difficult to get a line running through. So just keep that in mind. Sort of go for a more smooth and medium press paper. Cottons, really important, but that's more of you getting in specific effects like we did with the fixed. Just look a lot better if you've got cotton, watercolor, paper, the paints just spread a lot more readily. Now if you don't have that, you've just got Sally was watercolor paper or sort of unlabeled watercolor paper, that's going to be fine as well. I find with these pen and wash drawing and paintings that there are a lot more forgiving because the pen is always going to show behind the watercolors. Watercolors. I wouldn't say an afterthought, but the pen does make up a large field of the drawing or painting. So That's what I recommend for paper. In terms of paints. I've got a bunch of paints here. And there's a lot of them, but the main ones that I use, essentially some of the blues, some of the yellows, and some of the reds do you use have been the burnt sienna, maybe a little bit of the green. Sometimes greens aren't so necessary to buy. You can always mix them up and I tend to use these more for foliage, bits of grass, things like that. But I've got some sort of more muted yellows like yellow ocher, which is very subtle, sort of yellow. I've got a Hansa yellow here. I've got a permanent yellow there. I've got over here in orange. I've got a bit of red here. And these are my blue, ultramarine. This is cerulean blue and a bit of cobalt blue here. And think of, talked about the rest of these paints over there, but it's basically a Buddha bit of burnt sienna here. And these sort of times some of the other colors that I use. And the more miscellaneous cause I would say just a bit of purple. So in the corner there sometimes I use that to mixing for skies parts of buildings, especially if I'm using some yellow, they do form a really nice contrast and being complimentary colors as well. And I have a bit of neutral tint over and this side here. So it allows me to dark and doubt any of these other colors. If I just want to meet them a little bit or just make them darker. I also have a little bit of gouache that I squeeze out here for some highlights. Or I can even mix that with some of these watercolor paints to create an opaque feel to them. So that's about all that I'll talk about in a really brief introduction here to the materials. So continue on and get started. 3. Drawing Techniques and Tips: Okay, so for this video, I want to talk a little bit about drawing. Give you a really basic guide on how I approach drawing buildings. This is going to be a, a building that's facing the front. And I'll go through my techniques, just how I estimate the size of the buildings to get them in more or less accurately. So this is a free hand drawing exercise. So firstly, what I'm gonna do is go through a few little techniques that I use when I sketch. So most importantly, when you're using the pen, a lot of people often wonder how do you actually hold it? So it seemed like a real simple thing to do, but actually it makes a difference whether you hold the pen at the back or the front. So if for example, I'm trying to get in a smaller figure or something like that near the front. What I'm going to do is that I'll probably just hold the pen closed down here. So this allows me just to getting a little bit more control. And basically pop that figure in like that. Same thing goes if I'm trying to get a little bit more control when I'm trying to do a building or something at the back like this here, just trying to get in a little bit more detail, that sort of thing. I think it's really important to hold the pen limit further down. And you notice that makes quite a bit of difference than if you have the pen sort of held more to the back. And the reason why is when you hold the pen more towards the back, the strokes just become looser so it's easier to use your arm, your tie aren't actually sketch. Now, both of these techniques are really crucial and you don't want to hold the pen to close all the time because it's going to make the entire drawing look a little bit too forced and you need to loosen up a little bit. So another thing I'll do is I'll hold the pen further down but just looser. So if you're holding it looser down the front, you're gonna get a looser line and a little bit less control lines are just going to look a little bit more free. Compare to say that one there, holding the pen down the side. I'm kind of trying to get in some larger buildings or something. Over this side you can get in shapes, really big shapes coming through the back like this. And you don't really need to worry all too much about the precise snus of everything. And you can even hold it down the back and just try to get in more precise lines. But I find that it just doesn't work as well as if you just hold them a little bit closer, pen a little bit closer down. So so these are a couple of techniques in terms of how to hold the pen and some of the different shapes and styles that you can create, just how effective they are at creating, I guess, more tighter, more precise shapes versus more looser, larger shapes. And I think having a combination of both is going to be really important. So if I'm drawing a figure on down the front and I just holding the back of the pen. It's just going to look a lot looser than that one there for holder down the front. We can get in a little bit more control here, put in some arms or something like that here, there. Like that. So another thing that I'll talk about is hatching. So hatching is just the process of essentially drawing lines in one particular direction. And we're doing this in order to imply some darkness or shadows in the areas of the buildings. So, for example, if we imagine a light source coming in from that right-hand side of the page. So it sort of around here. We're going to imagine the light sort of hitting the right side of these buildings here and maybe leaving this section a bit darker. So if we want to make this a bit dark with the pen, this is what I'm gonna do. I'm just going to draw the lines in the same direction for this side here. Same thing for this other building. And you don't have to draw the lines sort of diagonally like I'm doing. You can draw them straight up to the, up and down, but I do find diagonal just tends to suit what I'm doing a little bit better. I just prefer drawing those lines. Mina and I tend to follow that same sort of direction in terms of the lines for the entire drawing there. The time that I don't do this is when I'm trying to imply a kind of curvature of a particular shape. And for example, if, you know, if we've got a round shape or something like that, he I don't know what we could do but maybe around shaped like that. Instead of just catching it in one direction, I might just draw, you know, sort of circular lines like that running through there. And that can, semicircular lines that can sort of imply these spherical nature. Of this particular shape or whatever that is. But apart from that, I tend to just draw the lines in the same direction. And another thing you can do as well is you can vary the distance in between the lines to make things look lighter. So for example, if you're looking at these buildings in the background, we've got all these sort of darker buildings here in the foreground, which I'm just trying to get in. So do this one as well here. And that building in the background, I just want to make that a little bit darker. I can just space out those lines a little bit more like this. And it still looks like it's shaded, basically little bit shaded, but not as dark as these ones in the front. So it's almost tell us a bit of an illusion or suppose that you have some variation in there. This one here. I can get these closer sort of lines like this. And notice I'm holding that pen closer to the back as well. So I can get these in quickly, more loosely to, you know, we've got this one here, which I can just follow the direction of those other ones. Saying here. And this just pushes these buildings a little bit further back and these ones look closer to the front. So just a little trick that I've learned. And another thing you can do is I talked a bit about this before when we're using different pen nibs now that was a 0.7. If we swap 2.380 or a zero-point five pending, what this will allow you to do is to just get into a little bit more detail, especially with these lines. So you can sort of fit in other ones in here. Because obviously if you using a larger nib pen, some of these large just going to be crowded. But if you're using a small indeed dependent, for example, Georgina building here in the back. And I can just getting more going in like that. And the lines are thinner. So that thin thickness of the lines or thickness of the lines can help also to push away objects more further into the background at the same time. So keep that in mind. It's not a huge effect here. These nibs are similarly sized. If you've got a nib that's more on the streaming. So I've got here is 0.05 and that you're going to notice this a lot more. For example, if I'm going to draw in another building here in the background like that and getting a few lines like this. And as you can see, the size of that nib has already dramatically work to push that building that further back. So it's about all that I'll talk about for this really quick session here on drawing basic building shapes, using lines to imply shadow. 4. Line and Wash Warm-up Sketch: Okay, so I'm gonna do a quick little warm-up sketch and painting here just to show you how I draw in some of these buildings. Now this isn't a little reference photo that some houses and boronic Venice. And I'm going to go through and just draw in where the houses finish off first. So put a 0.5 millimeter pen KIA and that's just getting up, holding the pen down. The answer of what I was mentioning before in the previous video, we're getting a very basic sort of line down the bottom loose line, nothing to defined. And what we wanna do is use this same sort of technique here to get into some of the buildings. So if we look at the buildings, Let's reduce them down to very simple shapes. There are essentially four rectangles, and one of them has a triangle on the top. So this third one here. So what I'm gonna do is we're going to make them roughly around the same width. So I'll just separate out one way, 1234, something like this here. And I'm gonna get in the top of this one like that. So again, just using this using the side of the pen, putting the pencil lightly on the side and it just creates a softer line. And holding the end of the pen as well to get a looser sort of effect. And here where I've kind of mark the separation of these buildings in the middle, just going to draw a little line running down like that. And even a 100 percent connected, just something like that. This one here, we know that there is a triangle shape on top. So I'm just going to pop that in like this really basic shape. So draw these sides of the buildings down. So we've got this one here and this one here. Ok. And I'm going to go in and popping the little rooftop of this building on this side here. So just a little indication of a, of a rooftop. And over on this side we've got another building. And just note as well. You have to use these buildings as a reference for these other ones. So you can't just draw this one coming out the side there. We're going to look at how far it reaches to the side of the building. It's a good time now as well to separate the buildings into portions. So this building here, we noticed there's actually three sort of caution. So we go 12123. So three levels. This one's got a level here, then you've got a level that kinda goes up a little bit further like that. And then the rest of it, which is just the doors and things like that. So I can just pop in a little door frame here and there's a kind of a curtain or something at the bottom. We can copy a couple of windows here on the side, very loosely, just to kinda mark out where they are. Let's have a look here. We have got a window here, one here, and another window here like that. And we've got a couple more up the top. These ones are sort of smaller like this. Okay. They're not perfect, but they're generally in the right sort of place. So just popping a bit more detail on top there. We have the windows here for this building, here and here, like that, number to below here, like this. And the bottom here we've got another sort of door frame in the center of the building like this. Then we're going to have a couple more kinda coming out the side like this. Here. Let's gain a few of these little shades that are running down like this. Think that's a nice little effect. These little shades here, there's little shutters as well on the windows to the side. That's another little effect you can do, just popping these little shutters. Here, little bit of line work, bit of hatching just to indicate the shutters case though, do you know you don't have to do it for all of it. But this is just illustrating how to essentially get the mean. You know, I'm skipping some areas as well. Don't need to and getting everything with line and everything in here. So even inside the windows, we've got darkness in some areas. So for example, this window might be pretty dark. On this side, we've got something in this window and then the rest of it's just pretty dark, so you can sort of color around. They're adding more details like that. So using these two buildings as a bit of a guide, we can now just get in some of these other ones. So here's the side of that building and bring it all the way down here. And then we've got this building here. We sort of ends. If you look at the However portion is building to three, it finishes just below that top part. There. That. So using this sort of methodology, you're able to kind of create I guess, different sort of structures and buildings next to one another and have them all in proportion to one another. So thank you. You got to be a bit more careful with the initial buildings, but for the rest of them, you are going to be completely fine. And just really putting these in pretty fast here, okay? And it's mainly just an exercise to show you the methodologies, techniques I use to judge distance between the buildings, where to put certain objects and features of the buildings as well. So just getting in a few middle bits of fits in details pieces in here might use a bit of hatching here on the door like that. What else is there? This looks like there's a bike or something here. I can just put in a little bit of detail for a bike like this, barely kinda tell that there's one there. Just something like like that. There could be a chair here as well. Looks like there is a chair. So getting a little indication could be anything really. And the longer you spend on the drawing those in more detail that you can get it. So I tried to find a little trade off and I'm doing this a lot quicker than I would usually do it. But normally I spend a little bit more time getting in smaller details, bits and pieces in the painting and drawing. So here's a real basic interpretation, I guess what we've got and add a bit of color into it. Firstly, we'll go in with the buildings and this such kind of brightly colored buildings that we can't really go wrong cuz pick up a bit of yellow, drop that yellow in here. I'm just using a large round brush, mop brush is popping in a bit of yellow as getting a bit of orange as well through here and just to just to dab of orange running through that house. Okay, and move that down the page here and finish it off around about there. And this building here and the rides kind of like a greenish color. So I'm going to pick up a bit of green, drop that in here. This is a bit of sap green. And there's a little bit of Guassian mixed in there. And then because I've got some quash sort of sitting right next to that green. So just a bit of color like that. Let the mix into each other. And I might pick up a bit of Naples yellow, for example, and just pop that in here. Okay, strengthening. Get that old to mix. The last building I think I'll put in a teeny bit of a greenish blue like that. It's a lot wash of that. It's kinda like a must, a turquoise color. Let's drop that in like that and let that kind of mixing. And all. I can also pick up a tiny bit of this, a little bit of this burnt sienna drop that burnt sienna in, on areas such as the rooftops, just some areas of the buildings that you want to imply. You know, just the additional additional bit of roof, that kind of thing. Even a bit here we could do then is have a look. What else could we do? Just sort of find things that you want to emphasize is dropping some color wet into wet. It's great time to sort of do it. And we can also go in now just getting the background a bit of the sky. So I'm just popping in a little bit of cerulean blue. And now I can pop in a bit of tiny bit of purple in there as well. Just change things up and look at that. I'm just cutting around the rooftops and there are some beets where I'm touching on to the roofs, but that's okay. As long as you've got some areas which don't touch and let that sort of blend and melt together. And always like to leave little bits of white as well showing through the paper like that. And this side here, I think I'll just pop in a bit of yellow or something. On this side could be like another field in green eyes. Just loose, so sort of shape there to imply that day. Maybe there's something in there. But it's just kind of blurred out because it's not a central focus of everything. Adds move water here, for example. So just a tiny bit of blue at the bottom, like these. Just drag that across the paper. The top section, I'm not putting a bit of yellow actually for the footpath or just a warm color. Nice, warm sort of color in the get that to sort of mix onto the blue. And I don't want to fiddle around with that all too much. Okay. So just a little section of blue and maybe a bit of darkness down the bottom like that. Okay. The good. And really at the end of this, what you wanna do is just pick up some other little bits of color you might want to add in some details in here for the buildings. So I tend to give it a little dry first. K. Now what we can do is just go through with a bit more strength. For example, here, this building I might want to add in a little bit more darkness in there so that I can just make this building look more just stronger, I suppose. And use these little windows sort of cut around some of them like that and just drop that paint straight in there. And a lot of this is really just some red, a little bit of orange, just drop that in K. So it's really are paying most of these things essentially with two layers. This is the second layer. That way just going through to imply some small details. That kind of thing, shadows as well, really and really kind of important in this section too. So we've got a bit of darkness there. Then we might go in and for example, putting a bit of darkness for these, these windows. So we can just drop in a bit here, like that. Line work for the roof, rooftop there. Connect that onto the ground and little bit as well. These other buildings who's going to get in some shadows running across like that. Maybe a bit of shadow running across here underneath this roof top there. Another thing you can do, you can even invent shadows. So you could, for example, put shadow coming in like this. It could be a building running from the right-hand side, for example. So just a bit of shadow there running through that building and leaving a bit of light there. So it's always up to you how you want to do it. For this one here I'm on, for example, just decide I want to put in some shadow is running to that left-hand side of the building. Running down like this. And a little bit of darkness here in this building to sort of draw that out a little bit. Okay. A little cross strokes here just to indicate some of the water ripples, that kind of that kind of thing. I'm putting a couple of birds or indications of birds flying around on the top like that as well. Okay. Tiny bits of detail for the errors, the errors. Anything where you want to get more. Contrast the end essentially. Just go ahead and have a play around. Okay? And some darkness up here and here. And here like that. Some little poles or something sticking out in the order that I got a little bit of blue mixed in Serbian blue mixed in with some squash. And this helps to just add a bit of this blue into some of these areas. So we can just drop a little bit in for these shutters on the sides like this. And then I have to be perfect just doing little bits of blue running through like that. 5. Wisconsin Shops: Draw Shops: Okay, we've got this really brought an interesting shop fronts seeing here. And what I'm gonna do is start off just by sketching in some real basic details as I do, more sort of marks on the ground to show where the building start and finish. So for that I'm going to be using my 0.5 pin. And this is just going to allow me to put in some of the basic details, that kind of thing. So a lot of the vehicles here in the front, we can change our movie. We don't have to have them in the same spot. We don't even have to have them in the same sort of shape or size. So I'm just going to pop and a line sort of around here. I want to just create a larger foreground, slightly larger foreground, so that I can emphasize a bit more light on the ground. So essentially what I want to do is we're gonna divide this area up a little bit more. So we've gotten most of these buildings and stuff on that right-hand side, we can say it's about it's about three-quarters to more than three-quarters. So outside the building ends around about here where the sort of reddish brown buildings begin up. And then we've got this smaller building to the left and this larger building here to the left as well. So I'm going to go ahead and just, just line this area very lightly. And the whole idea here is just to get in the basic components of this building and the height of the building as well. Make them a little bit taller, just a tiny bit. But mainly what we'll do is just go across the page like these, because as you can see, the buildings are all pretty much the same height. So we can go ahead and outline that like this and not have to worry too much. Essentially, we've got a larger buildings here in the center and two smaller ones here on the side. So this is the sort of feature right in the middle there. And I'm going to leave enough room and I'll just draw this line down here just to mark off where that building finishes. It may change later on. I'm not a 100 percent on that, but we'll give that a go. So what I wanna do is this also work on this building here on the side, sort of line up when it comes to this building, let's say comes about two thirds of the way out, maybe a little bit higher so we can finish off the roof of it ran about here. Just little scratches on the paper to sort of indicate. Okay, and then we've got these sort of building here in the background, which sort of comes down and hits the building around about here. And smooth has the side edge to it like that. So receding back into the backgrounds. And that's going to have a bit of darkness on a, this is going to have some light on this side here. So does make a difference. And then we're going to go ahead and I might actually start here since I'm already in this sort of section, bring this down like that. Okay, there's actually something else here, a bit of a chimney or something as well. So I'm going to go ahead and get rid of that section of that rooftop being draw the top of their roof in just like that. Underneath here. Just this area. And below the roof. These white that holds the whole of the sort of white pillars, these four pillars that come down. So go and draw these in. Now there is one too, just going to add line or, you know, roughly where they are so that I get them sort of evenly space. Okay. Great. And I'll just draw this down the page like this sand saying that that right-hand side like this here. And we can go ahead and do the same for these other ones to try to get it all in one straight line as well. And that one, final one here. Coming do that. There we go. There's the four pillars. Create and do as well, is that we can start putting it in a little bit of detail. For the door just behind here comes up about halfway on the buildings, so ended around it that VA and there's actually a door he a door frame or something like that, which I'm gonna getting actually a beam like that. And a bit of a frame there. The rest of you sort of ducks behind this poll. And we can go ahead and do. And this kind of double slash window here on this side as well. So essentially we've got a section like luis and cause some sort of lines running through that coloring little window and things sticking through all of it, but just some pots of k. And we've got a window up the top here as well. So I'm just going to pop that in. And then side. So these blinds like that. Okay, popping the frames as well, we can pop in another one here to get that same sort of deal with the blinds shutters. Now the one here, this is actually all one as well. Just indicate that quickly. Like that. We've got another door or window here. K like that, just drawing the frames. Bit of hatching. Same for these ones. Hey, just a little bit of detail. Darkness behind here. And that should just about do it for that one will go in and define this building behind bit more as well. So it comes down right about here. And there's actually another, I don't know what it is. It's another something coming out like that, hits that sort of area and so much like a building in front of it as well. And he can barely see what's happening here, but I can just indicates some small little details. And here comes out at the the painting. So I really don't have to indicate old too much of it. Some some top of structure here, who knows what it is. But as you get to the edges, you don't have to detail as much. It's sort of a way of telling the viewer, okay, you don't need to look any further. Focus on other parts of the composition so little bit. If these roof top like that, then I'm nothing too fancy. I'm just going to add along this route from the two big mall tiny bit of structure here on the roof top just to getting the top of it like that. And it says a window here and I want to put it in because it's helps to add to the overall composition, the feeling of perspective. There. We've got some difficult paths you with these larger buildings and things I'm not going to do first is I'm gonna get in cars and things. And the reason why is because they're all in the front and it's just going to make it a lot easier if we do this first. So start off with the wheel of these font and I'm going to keep this very loose. And the front of the car here like that. And now he has a section like that because facing kind of pots pathway. Now the window here, for example, can the loss window here like that. And then we have gotten the windscreen, the back of a vehicle like that. Now the tie of there like that. They have it, That's a car. Then there has been a shadow underneath the car as well, which I'll emphasize. Lighter on. Some details on the leaves, especially do help for laptop. And they kind of roof racks or something here as well. That's shocking, just emphasize Paul died in great thing about these causes and that kind of overlap. So I can pop in another one here, just behind it and it doesn't interrupt and it just overlaps, which looks a lot more interesting than if we just leave it and draw them separately. So the other tie icon of stops around it and here they smoke. The largest would be vehicle. Then we've got another tie here. And just going to go ahead and getting part of this window there. And another one here kind of just a squish like doing another little one there. And we've got the back of the car here. Comes down like this, loops like this. And a little bit of that tire and the back say something like that. Should do the trick for that one. And there's a larger kind of truck here as well. So I can just again go along Fuller. Fuller, this general structure that a sharper sort of window. It looks like it so much joined together like that. Comes down here. A lot of the stuff at the bottom you almost can't saints just joins on till darkness here on the on the ground. And pickup truck. Peter, to the windscreen there in the back, just sort of sticking out. Then we've got area of the back of it like that. And of course a large sort of new area here. Maybe we got a touching the ground like that enlarge and that have been mole K. Some of these handles, these door handles and things, and the little separations and things on the doulas, the body of the car. So those are three real basic sort of Kazaa also with live to getting maybe a figure here. So we can just popping a person maybe walking along like that, like going behind the car. That could be another person here as well. Just sort of walking behind them. And maybe here as well just pop in that figure. Now the figure here walking towards his fiction. Well, maybe they could just be standing around talking behind these cars and looking at what else we can do. This little date house here, there's a postbox or something which I can just kind of sketching like that. Some kind of fire hydrant. And over here there's actually a a flag, American flag. So skip, get the scene. Something like that. Put in the details of that later, may even just cut that out. It depends how they tell you wanna get. And in here. And there is a car here as well, which I do think I should have added the scene before, but we were going to have to work with what we have. And just the back end of the day and it comes down like this. Could it be to this side of the car? So I'm gonna kinda copy that one actually that and bids this window there. And we'll their hand like that. Kind of facing more towards the front of the thing. You're not seeing as much as the other costs, something like that. I've kind of gone right to the edges, actually, which was not intended, but let's say k, the shadows when these cars, I sort of go across to the right-hand side a little bit with these guys. You can't really tell so much. But more than buildings. If you look at some of the buildings and the reference photo, the light source is coming from the top left, has a slight sort of tilts of the shadows cast to the right-hand side. K. Kind of a person could be holding unleashed dog, even get put here and just indication of Dove something on that. And then I should do the trick for me to put anyone else in here. I think I'll leave that as he's at the moments that working a bit on these buildings here in the Santa. So first thing I'm gonna do is just separate this building around about halfway to, around the halfway point in the building or just above that point. And this is essentially where all these shades and starts. I pumped them in like this and said we will be swollen guys around but just over halfway down these section as well. This one is a little tiny bit how I sort of starting about here, K. But that's essentially the shade is actually is actually something he has some kind of structure there, which it's casting a shadow as well. There's a little sign board here for the for the SAM little shop and I actually separates out into little bit more detail and bring this one down this pillar here. And, you know, the actual past dots rant about this. I'm going to just finish this off roundabout here and have that door just hoping that the ring doesn't door here just behind this car like that. So I can she get that in here like this and another sort of thing. And the way they go to another window here and pull the other beat at the bottom like that. It's a things and stuffing the door. Now I'm not going to necessarily cover the whole thing, but just indicating some detail. And the good thing is if you have some more darkness behind these cards going to actually bring out the details of the car mole. So, so always something that I try to do use negative painting negative techniques are suppose to sketch them using the Windows. There's all kinds of we shapes in. I don't even know what half of these stuff is. This is actually some kind of T7. So you might have some glasses or something like that. And just hatching this section so that it looks darker and we can always dark and this light a bit more so don't worry if it's not the right shade. I always like to leave a lot of these helps with the watercolor and this finer details for the pins just easier this way. Using the strengths of both mediums in the pen allows you to just scratching these small details that just quite tedious when you using a paintbrush. Watercolors is just a lot easier to getting tones in interesting colors and just logical washers. And this one down here. Let's have a look at the shop. What else do we have in here is this is a whole sort of dark area and then we've got come darkness here it is a beautiful dual frame or something here. Then the rest of it, the rest of it is essentially just darkness. But again, you can just add some small shapes and inconsistencies in here to make it look like there's more going on because it is actually the visa in there. But you can't really see it. Something like that. Okay. Great. I like to say just use a FECA law enough to go around the causes, woman just this the outline of the cause. And this will make it come forward. Small cases, especially especially in some of these areas, which kind of touch onto the buildings are fine. Having that dark line running through those sections. It's very, very helpful to bring this structure forwards. Moisture in the figures tend to just dock and down a little bit more. And to achieve the same sort of effect. And let's put pole beans and lettering. This is squared plus up to N8. Just wanted to Something like that. This was this one on my T. T. Okay. Rotting up the top like that. K is also a shadow underneath all this stuff we can get enlightened with. The brush comes out to be o to the solid like that is shade. Swot details and things like that do make a difference. This top section, geez, it's quite complicated. So again, we're going to simplify and cut this into half just around the halfway point. Very last line. I don't want it to be there because it's actually some there are some shades, you mean getting. So we split this into two parts. There's the parts here on this middle section of the building which touches the top of these windows here in the Rockies for Windows. So I'm just that's where I've drawn that lining and the building cuts around halfway. So what we can do is we can actually start popping in these four windows here on that right-hand side first, I think that's going to be the easiest part and I'm going to just go ahead and do it like this. Yeah. I think WHO actually getting another one above like that for these shades. That here. And that's 1234, like that. Okay? Just make sure they kind of evenly spaced. That's the main thing you need to concentrate on. The auto mean. And the little framed is one good like an air conditioner or something here in the window. But they all have these little these wireframes that run through the building. And I'm holding the pen pretty lot as well, just so that I can get these lines in quickly and lightly. Great. Now we can use split the section again, economy and a half. And they're these little semicircular on top of the window is these little marks like this. So just get these in roughly around the same size. Okay? If there had been worldline a big deal. Okay, so that's four of them and they actually go up even further than that. The center part. There's all kinds of details in here. And I'm just actually going to putting the side of this 1 first, this kind of pillar that runs up the saw and the beauty and kind of finishes off. He goes up to a section like that. Then k and several loop is actually a part of the roof and joins on like that. But all, let's get these big sort of done and dusted first. So we want to put in these pillars and they finish off this, putting this sort of Y square shapes and sort of finish off in the center of all of these semicircle here. Okay? And it actually goes through there like that. And the semi-circles expand out is another section on top. Okay, and then we've got, of course, this kind of line going all across there. And these kind of come further down and finish off random it halfway through the window. Very using other elements in the drawing to help you place the smallest thing. So if you go to start small and big and look at the general shapes and getting the basic structure and like what I was doing in the beginning, just placing the buildings, making sure there's enough space. We separate the building and half that kind of thing if you get all those really larger level things, correct? All these little stuff here. It's just using the same techniques, really the same process to get again, and it's not perfect, but it's fun. It gets you there without too much effort. Okay. So that's I think that's about it for that window and decided the building anyway. There are little bits and pieces up here and I'll have to get these feelings well. So there's a kind of section here and then what that is, it's a Docker sort of little ash thing. They're in that kind of comes up, joins onto this like that. And you've got this thing that goes up here. And then another one coming off to the side like that. And then it just joins up kinda like a house shape, triangular shape on top like that. Okay. It's battle. We need to imply, join that onto that right-hand side. There's little bits and pieces here. We can just kind of make it up actually and popping centimeter middle lines and things like that. Okay, this section here sort of shares one of these, one of each window. So I'm going to start off with this other window and actually joins on like this. And this has a lovely kind of HA, that just runs and down like that. I love this red shade. Just joins on. The other side here, shares a kind of central pillar or something like that. And then okay. And then getting the other, the other shapes as well, 12, 34, fourth, 1 rabbit here, K. And bring that one down here. Oops, there. Something like that would be this sod stick and have the cubit, a sense of volume. And the bottom parts. And just the sort of dock squares here at the bottom. Join that on the kind of wireframe to them. Like this. They're excellent. 6. Wisconsin Shops: Add Details: Moving across now to this left-hand side, I'm going to do similar to what we've had on that side. So we're just going to draw this same line that runs across the whole structure like that. And we know that there's a pillar and a sort of area here similar to that side runs across here. And we've got this little bit of the building that sticks out the top like this. That Here we go. I haven't got them exact, unfortunately, but my kid would just muddling around with that one a bit. Get them sort of similar looking and create a bit more confidence in those lines just on top of the building as well. Okay, there's these little lines here that run across. And we've got these sections in here. Oci, squarish sections like here. And there are these vertical lines kinda running through them like this. So just be just scribble in there. Just like that. Grinds and that sort of separates through as well, just to be a long running through there. And these kind of pillars that are run down the page like these here, here as well. Like that. People will strength to that air of the roof. And there's another sort of pointed structure here, just mimic that one on the right-hand side. It doesn't have to be exact like that. And that's sort of just comes down. Great. That's the age of that building. And I think that's all the detail putting for this building. So I'm going to this right-hand side now, start with this other one. And you'd have scribbling in this side of the building just to finish it off to get a kind of boundary going on. And here we have a bit more of the Southern building runs across. And I'm going to just draw a line that comes down the page like this. Probably should start with it. Doesn't matter. Come down here from random out there. And we're going to use this other building to, as a guideline to drawing some of the separation. So just weigh these sort of semicircular things finish. I'm actually just drawing in a bit of detail. Here is a separation here as well. Like that. And kinda lot so something like that hanging off here. It's hard to tell what they are. Brake building and there's a lot of detail in here. I'm I'm going with this smaller pen nib, a tiny point of five lambda. To getting some of those details. I'm just popping the little lot sections like that. And there we go. Some detail like that with these ones dots as well. Here. There's a shade that just runs across here and finishes back there. It's a shade. Then we've got section here runs kind of like a curved area like that. Now the shade that just runs across that finishes off right about here. And of course another shade that sort of stocks in the same position. Some diagonal lines. And that actually comes out of the building and lead or be like that. Let me just extend this one. I'm ladle. This x, some little separations and nice shines as well, sorry. Just use that line. Kind of turning when you make a mistake, you just turn that mistake into part of what it, what it should be in the end say, you just do these bottom shades and a tiny bit of hatching. The bottom is some wording here. I think it says something. Okay. So just to Tawny detail, they're fully logo. I'm not even sure what that is, but just to imply that there are some shops here, k is section at the bottom. There's a couple of windows and one here. And that will go all the way across, finishes a random event here. I'm the baby is a plot of something here as well. Detail in the Windows. Tricky is just to be deliberate. Your pen marks. You've got bit of darkness bell on their door here, think right here. Sort of like a side door that's left the jaw. And have hatching. Hatching here as well. Fantastic. So the Luke, their full kinda little windows above use well, so just drawing. This is showing 123 For a hold the pen lightly as well, sorry, for some of the frame. So the windows to sort of larger, square shaped things here of the building data. We need to put them in. The other one here. Oops. That pill is running across here as well. It doesn't have to be perfect. And lock it in a bit of this other building to the right to finish it off. So I have that sort of section up. I glad they got bits sticking out the side of this building here and really see what's in this building. Anyway. Just popping one window here. And maybe we can do like a lot lots of something. I'll come kind of a lamppost. That's maybe a tree, a shrub kind of behind like that. Bit of darkness behind here, like a frame of a window. I'm doing this also purposely so I can bring out these figures to just like that. Hits of the fetus negatively cutting around that area. So I'm just quickly spin up and do something in here through the window. Kay? Bit of shading with a hedging. There's well, but it looks like for the most part this is done. And we can get started on the painting. 7. Wisconsin Shops: First Wash: All right, We're going to start with this painting now. And what I'm gonna do first is essentially I'm just gonna go over the entire set of the buildings I usually do is to begin with, and I get older a lot sort of colors Xen, mainly warm colors with a bit of blue perhaps here, and get a color for the cause and also the foreground. So really light sort of colors I'm essentially going to be using in this area. I'm going to pick up a couple of RAM brushes are good at eight and a 10 round brush. I've also got a number 6 round brush here and put a smaller flat brush. It's number 6 flat brush just in case of fuel. Sometimes it helps to just getting some of these windows very quickly. So what I'm gonna do first, I want to pick up a really bright sort of vibrant red and get these shades in first because I know that they might kinda get muddied up lighter if I sort of white into light up. So I'm just going to go through and pulp on just this nice, lovely bright red color in this area I'm seeing if there's anything else. And maybe some other areas where I want need to deal with as well. Probably hear on top of this section very Just a very quick wash like that. And what I'm gonna do around the sides is I'm going to pick up some burnt sienna. Just just sort of died down a bit. And I'm going to just go over the top of that. Entire buildings. Burnt sienna and we can use a larger brush also for this case, I'm just going through, we can also add in a bit of yellow, a bit of yellow ocher into the mix. Just to give it a bit of variety. I'm cutting around essentially some tile whole area can be done in just one color with a bit of Witton wit, work through there as well. And going like that. I think with these windows as well, a woodlot to getting a teeny bit of color through them. But firstly, I'll just start putting away the section and painting the second because I'll quote to get even a little bit of weight in width as well through that area and not a whole lot, but just a little bit. So that some of that red kind of mixes in to the color of the building. And do it here as well. Because I don't want any too many hot edges in this whole area. Okay. So come down like this. Yeah. Okay. Keeping it fairly light and just finish it off here at the bottom, like that. Okay. So look what else we need to do. So this whole section here, let's get that old name. Then at the way, just like that, there is some coolness as well in these windows, which I will just add in with a little lot wash of blue, tiny bit here. And then also in these sections as well. I'll just little bitty blue color running through like that. It's me to down a bit. But I do want that to sort of spread through that section. Weight and weight going on as well. But generally speaking, just very light wash going around there and I'm cutting around the edges as well a little bit just to leave some what areas on the sides of the window is it just looks like the window frames and stuff like that as well. So it's a little trick, cutting around essentially. While the other areas is still kind of wet, you can also just dropping a little more color into this mix. Just get some variations running through so that it doesn't all dry exactly the same. I'm going to just put it in a bit of yellow here and try to connect that on with the red. It's still kind of damp in that region and out for me some of it will run down here just to form a nice softer edge with this part of the building. I'm actually going to paint that in a bit of spirulina blue because I really want to have a kind of a contrast between these warm colors. Pick up a new brush. That's just dropping a bit of this. Might be a bit too dark. Let me just mix a bit more watering yeah. That Trump that in like that. Very lot. Wash. Okay. Sidebar mixins, even that building to the right-hand side, that's not a problem. Just let it do its thing. And just wanted to wanted a bit of blue in there. Okay. Rest of the buildings that's pick up some of these bent Sienna. Let's drop that in here and use a larger brush as well. Trump that in like that. My pump being a bit of the NBA to that, Trump that into that building. Very long colors I'm using essentially. And then come down nuclease. And since have a look, what do we have in this sort of section? The windows. All so just adding a little bit of coolness and the windows like that. Okay. And kind of just goes a bit of ties into this grayish color. I'm going to pick up some gray from the palette that I've got left in the day before and just drag that down. Oops, some of these windows and now start into blending with the gray. That's a k. Keep it light, keep it very lot. Come down the bottom. And where we sort of come to this section here. This is again where I want to use a little bit of blue bit of coolness to getting the suit of Shi'ites here. And maybe beautiful walled thing for this section like that. Blend that in this and this section below as bot, just a bit of a grayish color like that. Bit more gray as we move down. Now it can even put in a bit of purple in here. Okay. I think we're just a lot wash around the section will be nice. Then we can get in some, some shadows afterwards, this withdraw and low lotsa K, little bit of yellow underneath for these bits of the building, for a lot sort of color, have that sort of blend on there. And here as well, I think I'll popping a bit of these yellow, yellow, Erica, get that to blend in and be with the blue and the edges match. Cut around that figure. And the, and it's going to be lots of docs running through that section. Anyhow. Do want some yellow ocher on this building too, but just to be stronger. So I'm going to go in like that. A couple of figures here in the foreground. Then. This building here, a tiny bit of burnt sienna into that gray. And I'm going to drop that in to the roof top, write that down. It's too dark. Let me just water that off and cut around the building to the right. Here we're going to leave some of the Watson the pipe for these pillars as well. And here I'm just picking up some burnt sienna and dropping that straight into these region underneath here. So it's very lot, a lot sort of wash coating around bits and pieces that flag the pose. Mainly the pose. Okay. Fantastic. And spoon in here to the left, more of the sienna. Sienna mixed with yellow. Just cranked the yellow. I can put that on that side of the building and needs to be worn on this side because of the light coming in from that left. Cutting around that. And then innovative color like that. Maybe a bit here. And then for the side of that building, I'm just going to go DACA, say, pick up a little bit of these. Political drop that in like that. I'm going to move this whole washed down further. So we got nearly in the ground areas. So just picking up a fair bit of yellow ocher on my brush and I'm going to just move these across. There are sections that have already dried off, but to do our best, to sort of get this section in. And this is really just to imply minds. So we need to have, need to have these yellow running through the bottom. That is pretty much the PLO yellow ocher. You can pick up all the yellows as well, sort of brought to yellows. Yellow I could just tends to be a little bit more subdued. It's not too obvious. K bit on that car, that left-hand side, that car would be nice. Join that on. Okay. Let's have a look at these other cars. I reckon we can put in some other colors here. So we can go back to blue. Just a cool color, very light, cool color running through just for the swan and making its way down the page through this section of the car. Glad you're blew. Right. Then we'll do this one to that rots and maybe just document down. Just a bit of a grayish color and combine that, join that on. Okay, great. This car, the rod here, I'm not just go with a bit of orange maybe or red. That red again. Orange truck. It a color. And this car, I'm not just cool it down on this side a bit. Sometimes you need to lift off paint if you've got too much on there. Okay. Bit of blue also beneath here. It will dry a lot flatter than it looks at the moment. It's showing us of the paper. The water on the Packers, quite deceiving almost makes you think that it should be. Then you keep fiddling around with it and then it just looks very odd afterwards, but get that coloring, let it dry. That's the main thing. Okay, Good. It blew up there as well. What I'm gonna do is just start putting in some of the colors of the sky. So just some of the blue and I'm going to use, are going to use actually a flat brush for this cerulean blue. And a lot just sort of flat brush. This is number 8, flat. Just test that color on the sky. That's not bad. Just a lot of warships cerulean, flat brought the flat brush helps because it is good for cutting around these square sort of shapes. That's an even leaving a little bit of watts on there helps to bring things out more. So just in the edges you might want to read a little bit of y's in some areas. And we're gonna do this section first. There's little bits of cutting around and finish off the top part of it. Just a few more little strokes running through that section. Tall pot as well. This in a nice flat blue wash of the sky. And still putting other bits in here if you want to. I think I'm just going to leave it as it is so that it dries flat. So leave this to dry. 8. Wisconsin Shops: Add Shadows: So for the final stage, what we're gonna do is just start adding in only shadows and going to be using combination of brushes here, number 8 flat. And that's going to be combined. So I'm going to be using a number 6 round, number 6 flat and a number eight round to get in the shadows. And essentially it just depends on what shape I want to get enough think for a lot of these windows and especially shop a sort of shadows. I'm going to be using a flat brush because it's just going to be so much easier It's getting getting those sharp edges for the shadow. So I'm mixing up a bit of purple here. My putting a bit of blue in the edge like that. Okay? And bit of neutral tint as well. Maybe over on this side. K, like that. Okay, So let's give this a go. I feel like starting over on this side first. So Let's try maybe to this paint just directly underneath like that. I think it's going to need to be dark for me. Just pick up a bit more. That's about data. And there's actually a bit of shadow underneath here. It kind of just goes straight down like this concern around that pot. And has the sorting dome shape. They're kinda like. And then there's well B, so it has like a shape that's just cutting down like that. Course. Yeah. There's all the darkness beneath the buildings. But it's important to leave some bits of lives on there as well. Okay. So that's a bit, it's a little bit there with this sort of shade sort of creates a little bit of darkness on that side of the building, which I'll gain. And see what else can we get in here, I think section here, let's go ahead and just draw that in. So we've got darkness underneath here. So quite dark and sharp shadow running across the side of the building. And we might leave a bit of that frame or whatever to the color, the whole thing. Leaving some of that yellow is going to help just draw out the darkness. The dark. It's more say, you'll want to leave some of that in some dark enough, just mixing a bit of neutral tint. Sometimes it can be hard to tell if you're going dark enough or not. K, v here. And a tiny bit near the windows here as well, just the edges. As flat brush does a great job at doing that. Darkness on the, make the windows. I'm going to just exaggerate some of these shadows underneath the windows and bits and pieces here as well. Some more darkness here. Neutral tint. Most of it is just neutral tint. We can actually also use just this round brush and some areas. Let me go try to combine and join up some of these areas as well. And there's this little bit of a shadow here on that side. And hence a lot of it though is it is shattered cost from this building. And look here, sort of runs down the side like that is a bit of darkness here as well. Because the back is a little sliver of light. You can see it just running through the back there. So pretty dark under the other areas. So we can go ahead and pick up it should be neutral tint to drop that in. And here. That kind of finishes off around about here. Just let that do its thing. Prosecco, darkness on this building here. Just kind of get that in that shed at a cost. And that building can then we've got a bit of darkness here as well. This is actually forms part of that whole building in the background that, so I can really just cover that in Dhaka. Something on the shadow being cast here as well. Just a little bit of darkness. That often that edge. I think I'll also getting a bit of darkness around the side here. These building. Kind of just the imaginary shadowed cost by its shade or something. This part of the building on that lifts side. And there is some darkness up in here as well. So get that in. Like that. Good more shatter and effects for the window, dark areas of the windows and things like that. Okay, So just some of these bits here. There are some slight shadows on this building on the top, and they vary a lot. And I'm gonna go ahead and just getting some little indications of these. They're not too detailed at all, but just a bit running through here. You still want to see a lot of that line works and keep it. Snow certainly just keep it quiet, lighten. Loose. A lot sort of wash. Talking about like oh S to T consistency. And run down some of these side of this pole. Paler or whatever it is down the side there. I'm also going to get in a little bit of darkness on the window for the kind of shade that these casting. So okay. Enough darkness. I'm just going to get an honest shop sort of line running across like that. And that can be a shadow. Then That's just another be cast like that. Maybe we had a darkness on the left side as well, these shades. And there's a kind of a shadow being cast from this structure. I don't know what it is taught like that being underneath the sign too. I'm just picking out bits and pieces that just little bits and pieces essentially. Drawing in a few little lines. Shade a bit of texture. This one is wound just some vertical lines. For this one. They're just exaggerating some of these shadows, a little more, darkening, some of them all darkness here. And we say it's, it's just a bit of texture or something like that. K putting in some shadows for the left side of this building now just a bit there and tiny little bits of details. And the rooftop, if I can just gain a little bit of line work running across like that would be nice. And dry. Brush a little bit. I'm going to pick up the dry off the brush and I'm just going to see you getting a rough texture. It's like that on the roof. These same with this building here, just to sodded a brush and just draw it off before you can get these little textures on. I like these just to give you building a beautiful wedded sort of Luke and it almost looks like the Greeks in day. That kind of thing does help. The swan. I think it'll keep it lots are on this middle 100 want do like the Sam, how it looks at the moment. But it just needs a bit more. A little bit of texture, so subtle. And you have to be careful. Watercolors. You don't overdo it is all kinds of stuff down here as well that needs some texture me, it's just to, to sort of stock that sort of suggestive work. New bit of water and that's it. Kay? The cause I'm gonna just getting them this on the backend of it. Just some mutual tint, neutral tint. And pop that in here because I want to imply some darkness running through the back there. And underneath the cause as well. Just just to get through the back behind the ties underneath it. And know much at all. You'll want to soften that edge a bit as well so that it's not two of these, the Windows also you can just dock and, and some of those windows a bit too. Like that. Very subtle bits of detail in here. Okay. Underneath the cars well, the truck K. And always document again, if it's a bit I'm not strong enough. Yeah. This guy here on that saw kinda needs a bit of darkness on it as well. So I'm just going to go shopping limited color. I'm going to go in with a bit more strength just to get that shadow underneath the car. Neutral tint and Trump that's trading like that underneath the car. And have that kind of go over the back there, just the form bit of a shadow joined this one up there. This get that back tire to join onto the shadow. Found that works really well. The kidneys ties to join on has to be fairly doc. And it will just becomes one big soda shape. That's the way you want to do it. Okay, this one do the same trick. Shadow coming behind the right-hand side. The figures, we're going to stop putting a limited color. So I've got a bit of blue here that's dropping a bit of throughly in blue. It's got some caution is editing a bit of whitewash to this early and blue to give it a bit more body. Okay, have a bit of blue contrasts with the yellow. We can get innovative purple when mixing as well and come up with a kind of lavender color for this one here. Oops, bit too much over the head. And there's a few of these side we can pop in. I prefer just some kind of cooler colors running through because we've got all these sort of yellow all over the place and adding a bit of good, Just a little bit of white goulash into the blue, leaves, a pesto sort of color and it doesn't look so harsh against the, the, the yellow so trumping the legs while the fetus is still drawing that one sort of behind. So we don't need to worry about that one. And this one is putting a food, oops, too far behind. And we're gonna getting distributed a shadow or something. I'm going to shut it for the dog. The sphere. Yeah. There we go. And a tiny bit of goulash. For this figure here. Again, a little bit of that blue and maybe some red in there too, like that. And the shutter running across the ground there. Okay. Well, I can just getting a few little directional lines on the ground as well. This will help join things together. So you have some kind of some of them broken and some of them all the way through like that. But keep them very lot. That's the main thing that wanted to power. But the kind of dry brush strokes running through just connects everything up and gives it more depth. This is the kind of footpath, the edge of the foot path here. Color for the fees heads when you've written a one here. To get rid of coloring this person. And green for these tree or shrub. Put it in a few little birds in the sky. Just to help break up the sky because we've got all these blues is flat wash of blue and it's just going to feel like it just helps when you're adding a few bits and pieces here and the sky. Okay, and I think I'll leave it as that. 9. Curcao Shops: Draw Shops: Okay, we're gonna get started on this one now. And what I'm going to be using to begin with again is that 0.5 pen. And a few things I think a much change up here might make, including just a little bit larger and same with the cars. So you have to be putting a little less sky. I might actually increase the size of some of these other smaller buildings too. But generally speaking, we're going to keep everything quite consistent. So let's go ahead and firstly draw it in the bottom of the causes. So I'm going to just pop in general line here down the bottom. Okay, So welcome. I just ended around metadata here. Okay, these are just quick little marks on the paper. And what we wanna do now is to separate it halfway because we noticed that this building here, the center of this sort of read and to call it building, the Aquaman building. It's kind of right in the center of the page where it finishes off. So this is a little mark here just to help put it in the right place. We've also got this building here on the right is pink building, which we can separate this section to two again, like this. And just really, really loose sort of marks on the paper. And what I'm doing here is just basically putting in some little shapes and marking out the two areas. So we've now got these other two buildings here. We can probably separate again, halfway, halfway mark like that. And it looks like a watch shop. So I'm going to just write this line going sort of up like that. Using the side of the pen to kind of get a get a thinner line on the page unless there's obvious line really because all the seasons just marking out where things are not really trying to get in any detail at the moment. Just wanna make sure everything's in the right spot. So for example, the speed of the building here, and that kinda goes up like this. Like that. It's an interesting shape building of never seen something like this before, which makes it a bit more difficult to draw when you've got them irregular looking buildings. But I will give this a go. Okay, So it's kind of, it's almost like a diamond shape on top like that. And just going to draw a line coming down here. This side of the building, this is one, another kind of building to the left-hand side, a small shop or something like that. And it goes all the way down there. And elongated a lot of these buildings. And this now turns into the side of this building. So just going to draw that in, bring this down all the way down to the same thing with this side. Keeping it pretty neat. Okay. Please. Okay. That's a basic building shape. Now we've got this Aquaman building. Interestingly, kind of finishes. We can get it. We can do this 1 first, this side of the pink kind of building which I can just drawing like that, kind of connect up these two sides here. Here, okay? And need to be perfect. I get this to come down like this, right down like that. And very live and do smarts and the paper because I'm not wanting to get in any detail just yet. So we can divide this building into half. Essentially. We've got this line running through the center. Now the roof of the building, cada hits the top floor of this building, so we're going to need to separate it out for so we've got a bit more here, the bottom. So I'll say that's about almost a third of the building. You're probably more than a third, actually, 1, 2, about a third of the building. That should do. And then these other two portions essentially just separated out. So we've got one here and then one here like that. Okay? And what we can use this for now is just to determine the height of the buildings. So that part of the building going up like that and just connecting that triangle shape roof. This kinda comes down to rant about here. Yep. And Sought of that building as well, just coming down further like that k and going across like this, then. And this actually turns into another part of the building which joins on this AA conditioning doctor or something like that. One of the bases on the outside. So just a little detail like that thing. And really the rest of this now we're going to just slowly get in. So there's a bit of a line coming across here. We have the sign is another one here, down below there. And let's have a look. Kinda of these red shade finishes about here is a load of darkness beneath. And then we've got these kind of pipes, these white spots that just run down the side of the building like this. When a little pipes that sort of run across the buildings as well and down the sides. A little bit of detail. I'm not going to emphasize these old too much. Let me go over it again. Light up. Okay? And the great thing is now what we can do is stop putting in some of the cars and things. But before I do that, I'm just going to quickly go ahead and add these building here on the left. So we know that it finishes around about here and goes up. And it's a MOOC. You know, the deep fascia that joins on the side of that building. It's a details on the building as well. And then we've gone the side part of the building kind of popping out like that. And just separating out again the building into different flows. So we can actually draw a line straight through the Santa for this middle part of the beauty. Then we've got a section here. We're at about half, just about halfway. And saying this part of the building, it doesn't have to be perfect. Okay. Great. And even behind this building here, there are other buildings and things kind of popping out the back-end. So I'm just going to draw a little bit of it's in pieces sort of sticking out. Same here with this one is actually a building behind like that red kind of orangey rooftop, similar colors of this one. We've got another building coming out towards the back and just disappearing behind this building here as well. So we can get that one in. I'm bits coming out here. That's part of that same building. And then we've got a kind of squarish shaped building component here with a triangle. So a lot of these things I'm just reducing down to make into real basic sodas shapes. So I'm going to stop putting in some shapes for the cause. I'm really like these truck here in the front. So let's go ahead and get that warning. So the front of it sort of sticks out like that, like that. And then we've got the wheel coming up into the vehicle here truck, and they tie like that. I'm also going to maybe put in a little bit more of the road and show a bit more of the tie it to and maybe go back into the truck like these loops to make that come down and beat mole. It's kinda wanna slot, slot stand, we join it to be too high up on a slot. I mean, so it's getting that window really makes it come together. We use our in and there's bits and pieces kind of blocking it. Awesome. We use here at the back as well, which we can getting like these real basic. Another thing we might wanna do is think of adding on some sort of like, uh, things on the back of the truck. We could put in bits and pieces coming off like that. Just to make it look like this. Something a truck is carrying something. Okay. The Han the truck, we've obviously got all this detail. And another thing is we've even got a tree in here. So I'm going to actually emphasize a tree or bush, something like that. Kinda coming out through here. Notice obvious as the actual reference photo, but I just want to do that to have a shape and interrupts this saying here. So it's a bit of a tree over there. You might even have a lot here. We can pop that in like this. And another pole behind that kind of thing. They're more detail on the truck. V's, maybe some bumper detail in the Bumppo. Pete, more detail on the TI as well. Here underneath truck. And maybe putting a figure here can pop in a figure kinda just standing around. Just assure the scale of this entire entire situation here. Okay, bit more detail up the tub full of these roof like that. Interesting little structure here. They're kinda going to triangle here on top. I'll show what exactly that is, just the design I guess, of the building. And I'm going to simplify that down to have a couple of other sort of triangles and bits and pieces here. Okay, there's some kind of something running through the center here of the building. That, and let's go in and I'm going to outline these. Rudolf a bit better. There is being heated to dock and that'll be it. We're getting these lettering as well. So I'm just putting a very basic basic sort of lettering in that sections. I don't want to take up too much of the same or to just overpower everything as well. So okay, there we go and add just a bit of an outline, a line below. And here we've actually gotten a few windows so we can pop the middle one on first, that's the easiest, like this. And then we can start popping on these other two towards the side. Couple here, one here, one here. And that is going to be the watts line or separate or running across the building here. And There's also some lettering things up the top here, which I'm not going to all the old too much some detailing on the sides of the building. So I'm going to I'm going to be just trying to get in some smaller little details with the pen. So I'm gonna go through this puppy in the windows like that. And just like this coloring, we model an A1 color in some parts of the windows. Later on, I think we'll leave that for watercolors. Look a bit more interesting. Okay, the sod of this building as well. Bits and pieces of these other buildings here in the background and just popping in Windows here to aid the perspective. And maybe like a door or something that has some smaller kinda doulas receding into the distance. Maybe some separations on the buildings as well like that. So I'm gonna look, we're not going to do here little bit of detailing the SOD SOD of that building. And Windows. So we're going to actually three windows. One here, one here, one to know, one down the bottom, three. Something like that. Let's have a look. What else we want to pop in here. So this building over and this side, I'm going to just start drawing in some small details and outline the separations in the buildings. Bit better as well. Okay. Then they bring that down to the bottom like that. Join this line up like that. And we've got essentially three windows in each section. So I'm gonna just draw three squares. We've got first one here running directly below. And we get another one here. Another one here. That can have another one here and here. He and he, and just trying to get them roughly even that. And being quite deliberate with the lines as well, just following Third, like that, It's better to draw them small allies, lot of these shortest would enroll them in one go just to some windows there. And this separator up the talk is like little smaller windows in here as well. So I'm gonna see if I can get some of these in. Okay? All right. This one here, NADH is actually smaller separators. I can use a small pin also. So for this that and the point you really don't need to look at a repetitive reference for these windows. You can just sort of go in and change them up to how you wish to portray these windows. I'm going to stop looking at them. Small details here. And when you're doing drawings of buildings like these, often you have to emphasize certain aspects of it because you really simplifying down the reference photo. And I'll form what I've gotta do is bringing out these windows and so important, just them, even a little bit of emphasis on the frames of the windows. It makes such a difference. So get the top sections of these windows. That and then we can just go through and coloring some of these little squishes. And I can do it to all of them. Just to some of them to make it look like there's a bit of darkness behind it, which there is. And we go through even this one here is just the size. And the darkness here. They're not putting in these windows. The little white frames that we are implying as well makes a real big difference. I just make sure you retain those areas of what there and the rest of them. We don't need to do all too much. Some tea really. K. And let's have a look. What else do we have going on in here? And there are little tiles or things running across this top of this building. We can kind of imply with the panel, brush, lights are on. And she'd behind these behind the truck is a whole lot of darkness and shapes. So we can actually go through and do a tiny bit of hatching. In this section, we're going to darken it down lighter with some watercolors. Just a bit of hatching. I don't want it to be too dark. All in the same direction. To the bottom. Here. K is building at the bottom, has a kind of section key would suck a window or something like that. There are bits and pieces like that. Then when there's like a kind of Dole here that in front there's a bit of detail. There's a kind of looks like a bus stop or something like that which we can just getting roundabout here. We want it to be too obvious. Could be anything really. Just look at them as shapes. 10. Curcao Shops: Add Details: My pulping a tree here. Just sort of tree shape. And I'm going to kind of intersecting with everything and just getting some of those branches online. We'll look at this tree running into the ground like this somewhere. That there's another kind of tree down the back, which I'll emphasize as well. More leaves. Sooner I can have some larger sort of loose shapes running through everything. Okay. This is some kind of bus stop or something like that. Doesn't matter too much. The shapes and helping that person may be standing here. And these little fence posts and whatever they are as well, they kind of important to putting to have some, some kind of horizontal lines running across the section that just breaking things up a bit. Some people in here, I'm just going to hatch. Color in these sort of area. Behind them. Will work on this. They would ink. Some lines running across here as well. Would be stamped, break things up a bit and add some texture to that building. Speaking out some little bits and pieces. Realize what I've done is actually drawing this building way too narrow, but we'll have to make do. We've had looks. So we can suit a separate app this into two sections here and I Santa. And we've got this kind of section here for the, so we've got the middle bit and which sort of separate these windows on the top sections, these three sets of two times three windows here, and you've got a set of smaller windows here, the bottom, you can still get into three set of windows. So I'll do that too. This is the rod pin point better 0.5 pen, so that at least three windows like that is rotting here, sign, jewelry. And I'm not sure what that says. That's okay. Then little bits of detail in here that take a just the Joule normally. All American, these cars would be fantastic just to break this up a bit more. So I'm going to work in some cars and make them a bit larger as well here. Kinda drawing it in that bottom section of the car and the wheel. Like that. Touching the ground? Yeah. That's one cop. And that all kind of popped out the front. I'll do want to get some some of them are overlapping. I mean, this could be the back end of the car here. For example. Just a section like this background. And we've got another, this red guy here which I want to pop in as well, say just going ahead and putting in some little details for this car. Windows. This down here, coloring around that tire. That's drawing this up. We've got another one with that one somewhere in the background. Then we're going to continue on just popping in to more. I think that I just want to get in trouble. Something here bit taller. And then a mass windscreen of that truck, pickup truck or something comes out through the bottom like that. Then we go to another one. Could even get one car that's sort of facing in this direction like this. I'm coming forwards from that back area. And so have a look. What else could be adding here. Again, these little holes, the eyes kind of in the foreground connecting up like that. Think, oh, I'll leave the other ones, these other areas. I don't like how they're looking at the moment. Okay. And these can just be some extra, extra error of ground in the front. Like this. I'm just going to continue and space and I had to beat that perspective lines. Okay. Shop windows and doors, that kind of thing running through this section here. We're going to extend this out to be it water in that building, illegal. Do but a little bit of wiggle room to play around in this area. We do that law and lots had to begin with. You've still got that ability to change things around with that faunal dock along that comes through the one I'm doing right now. Facade of the building, Hannah. Smooth kinda window was something up the top. And we've got these windows. Hey, windows above here as well. I'm going to simplify these down, these other windows. I wanna do all these little bits and pieces in here. Small a pin, 0.38. Do these frames of the windows. Could've worked for the buildings here in the left. Now, join that one on to this side. Then I'm going to bring this all the way down. Getting a few more windows as well. This three rows, three sets to that shop or something down the bottom. I think what I wanna do is getting a lot just sort of tree shape here as well. Break things up. Just come in on this is truck largest tree shape like that up having another one kinda coming in around here to just break things up and get some of these little arches and things of these the building behind like that, which I'm going to get in as well. So some windows just get the middle ones in list 1, 2, 3, the side ones, and a darkness. And these ones and these ones can all be pretty much shot just like in the photo. So maybe that one. Kay, bit more detail. Sun is building in. What I'm gonna do is just getting a bit of an indication of some other building. He sort of fades off. Kind of really see what that is. I mean, here. Same here. Come the sound. Maybe get a tree, tree shape or something running, running up across the page like this. These loose sort of tree shapes really make a huge difference. In the final piece, I helped to break things up and then sort of add them over the top and also add them in at the same time as well. So that's a novel and then I've got here, essentially it all. Just tidy this up a little bit and we'll get started. 11. Curcao Shops: Painting: Okay, we're gonna go ahead and start here and this one. And as usual, what I'm gonna do is start getting in some colors for the buildings. And you're going to pick up a bit of lemon yellow and just go straight over the top of these Lodge Building here. And I'm also just going to leave and little bit of white around some of the areas of the windows or pop from that. And I'm gonna going fairly strong just to get a nice color around their loss. As shop, sort of yellow color. And I'm using a smaller round brush. This one's a number eight round brush because I'm finding it's a bit difficult with the Mult brush to cut around some of the windows to leaving bits of the white in there. So I'm just going to go ahead and pull this down. Like that. It doesn't take much at all, just a few little brushstrokes bringing this paint down. These are great. And we can also add in a little bit of orange to it doesn't have to stay on that same kind of yellow all the way through. Trumped. I didn't like that. Okay. Now, down the bottom, this is where I really just want to dock and that often beat. But firstly, we're getting a lot. Washington is yellow and off to go back into it with a wash just over the top. But this mixing some of these colors in here so that we've got a beautiful just sort of another interesting blend through this whole area and these other buildings and things here. I've got essentially a bit of this teal color, which I'm going to mix up throughly and blue and a little bit of Naples, yellow, I find that works quite well for these sort of color sadness going there. And them do that though. So cutting little bit around these letters to just trump that in like this. It'll be what? Line work is sort of comes down still that kind of teal color, greenish blue sort of color. And on the top, we've got ourselves a really vibrant kind of orange, red sort of color, which I'm just mixing up. Trump that straight in there and let it mix in. Just straight in there like that. Can also use maybe get a VLA through there too. It's just delve down a bit. Unfortunately. We'll make do with that red here as well, with that orangey color mixed in there. Oh, I look at is essentially whether it's a cool or warm color, I think that's the most important thing. And having that combination of colors just mixing in to each other. So in the background booting up good. A bit of this color here, which is essentially burnt sienna, Trump that in at the beck and let that mix mingle with everything here in the front too. I do want to just darken it a bit more. That go a bit more. Cerulean. Cerulean blue here, just to cool a comma coming down the page like that and bring that down here as well. That's right. And let's have a look what else we want to do. I think we'll put in a bit of blue here. Okay, you just saw to that building. Again, we'll pick up a bit of these kind of red color, drop that into the roof top of that building, rot there. Get a bit of that in these buildings here on this side. And I'm not adding a bit of these warmer color as well for these buildings just in the distance. Draw it off of bits as well. Okay, remember we're just trying to get in real basic colors at the moment, nothing too fancy or bit of green. This is just some Sap green that I've picked up off the pallet. And these for the trees here, unfortunately, I've got a little bit of whitewash mixed into this grain of just accidentally got some in there. But we might do if I just water this down enough, we should be completely fine. And for example, just emphasize. Make that tree go over to the right-hand side a bit more. It's very vibrant, lovely sort of grain. And rid of that quash actually helps to give it more body. Can also darker bits at the bottom, darker bits of green in there too, just went onto wet. There's a tree here and that left-hand side, I'm going to pick up more of that sap green and just drop that in here. Carry that along the side of this building and drop that in like this, and use this to cut around the COD. I want to go into the car is another tree here as well. I'm just going to drop that in here. And around this side of the building, I'm going to drop in. I'm a more vibrant sort of blue, maybe a purplish blue. So just over here for this other building, k. And I'm going to actually, what I'll do is get a small flat brush and I'm going to pick up yellow ocher, just some pure yellow ocher mix in a bit of that opaque Naples yellow as well. And I'll just try to get in a bit of bit of this warm into the windows as well, just so that I can preserve a bit of these two WIDA you some areas of the building. Bits and pieces like these. So we've got some kind of blending effects going on. I think that would be nice. Back again with that blue purplish sort of blue color. Drop that in. And you're gonna get a bit of this mixing going on which are really encourages. It's just magical. I know it looks a bit funny at the moment, but wait till the draws drag that down here. Literal just mixing together all wet into wet and cut around some of the trees in the background. Like that. Not to leave bit of white here on the piper too. Bit more blue here. Blueish color of the buildings. Coming down here to the base of the building. That I'm going to let that do its thing. This building here, I'm going to get in with a darker shade of green. This is a kind of emerald green like that. And I want to just cut around Windows bit here. There's a bit of bleeding into that building to the broader, I'm not too concerned. We can always lift out some of that paint to purchase, want to get everything to blend in nicely like that. Okay. So and even just go in and do the sort of thing, just lift out. But a color like that, soft enough that age, it's not going to make too much of a difference when it all dries anyway. Bit of darkness here at the base of this building, I think I'll use some blue and neutral tint and blue just mixed together. Here. Cut around. We will figure standing in there. Oops. And this building here on the rod, it's a kind of pinkish color. So I'm just going to pick up some magenta lot magenta and just trumped that you're not going to try and replicate that exactly. You can put in a bit of a wash in here that works with a wash in a bit of the image into. And essentially just using that to blend a little bit with all these other shapes and things too. So don't fuss around with too much, just let it do its thing. Here. Blend in with the trees. And you've got obviously these green trees and these pinkish color and forms a nice complimentary range that you can kind of use to your advantage. So anytime I can use complementaries and make sure I go ahead and do that. Okay. If into mixing, it's in pieces here on the rod. Now for the cause. And really it's not. Rocket science here we're just going to put on some light colors for the costs are here. I'm going to just go with the bit of blue like that. And light sources coming pretty much directly from above. So I don't need to worry about too much and you just get rid of a shadow underneath the cough a lighter shade of yellow here for these truck. K just a lot wash of that yellow. And let that sort of blend through. Like that. We've got all the cars and things. I'm not putting a bit of pink here for this car. Maybe you've read for this one as well. It doesn't matter all too much. But the main thing is I just want to, you know, if you've got warm or cool colors in the background, if I put some warmer colors here in the front, that's just going to move more interesting. Some bit of blue there, for example as well. That car in the back section K. And then let's put it in pink here behind these trees just to get the base of the building in. And for the foreground, really what I wanted to do is to add in just some areas of light. So essentially yellow, yellow ocher for the base. I'm going to use this brush here. This is just I'm Jen, mop brush works very well for these sort of thing. And so going through and just get the grand in that first and then I'll start to merge areas and join it up with these top section like that. Okay, Then and test stick. And what I'll do is start working on the topic now. And I want to pick up some blue. I'm going to use ultramarine that struck that into the sky. Sort of a boda, Kind of Blue. Normally I use cerulean for this. And k, We can even pick up a bit of purple and drop that into the sky too, so that it's not all that same color. And using the purple around the yellow is nice because it does form an interesting kind of complimentary effect like this. Sort of cutting around bits and pieces like this as well. I was really hoping actually for some of these to still be wet so then I could get teen some wet on wet work happening, but that's okay. We'll just make do. And I'm going around just cutting around some areas like this, especially the rooftops leaving a little bit of what through that section. Okay. I don't want it to be too dark as well. We want it to be pretty light so that we preserve and those darker colors and the buildings come out more. Remember this will dock and lots, and I mean, this whole section that I'm coloring in now, so this is what I'm talking about, bit of that blending from that building going into the sky. And as it's doing here for this pink building, this is fantastic. I loved that effect and not really getting that on this part here, you can even encourage it. You could spray a bit of water, just a bit of water in there like that. That might work and just drop in a bit of color through here just to get an interesting sort of edge and even use it here. I could get in a shadow on the side of this building, just real basic. At the moment like that. I just love that sort of mixing around and interesting color combinations. So you can go in, even popping a bit of color, getting a tiny bit of that purple in there to indicate a cloud or something like that. Let's drop that in and have a bit of a play around like that. Scott is a little bit darker than actually what it is, but that will be okay. And that's pretty much it for now. The only thing that I want to do is maybe getting some color for the windows. A little bit of lotsa truly in blue. A phone works really nicely in some areas of the windows. And maybe here it's just a border that down modes to its way to dock. Sort of like these very light kind of wash over the top row thing I haven't done is actually forgot to cut around these bits. Bits of lettering just makes up a bit more of this teal color. Here guy. Move this, wash kinda down through here again. You're ready for the lens. Okay? And let us all draw and come back to it a moment. Okay, What we're gonna do now for the final part of the painting is to get even older darkness and shadows mixing up some neutral tin here. We'll grab a bit of purple as well. Just join that all up and stop just around here. We've got the darkest parts of the painting and want to just go all around this bottom area here. And there are bits and pieces in these truck. Ij want to cut around specially here to figure that kind of thing. Just getting these darkness is in the background. This is going to help to bring out the truck a bit more. There's also a tree or something like that. He running up like that. So tiny bit of that is going to help. Same goes for these buildings here. So I'm going to go through and drop these painting. Bit more, little bit more darkness here at the bottom. And interleaving some of the frames of the doors as well. I find this is helpful. Bit more sharpness on top here like that. Rather than sort of looking at exactly the shadows at times, I'm just trying to create some positive and negative shapes in these areas. So not all too fast. This section here on that side of the building, there's some darkness. He had just as a shadow forming on the right-hand side of the buildings. So, oops, just going to go through and draw that in a bit of that shadow here. Kind of coming through the building like that. And let's have a look. What else we want it to be a shadow underneath here that they're here. Tiny bit of shadow underneath some sections here. Example. Maybe they're really just picking out areas underneath the windows as well. But it tends to be an area where we have shadows forming a signs and things like that. And there are some windows in here on the sides of the buildings as well, which I'm going to just quickly pulping like that. Shadow here underneath these windows. Top of the Windows like that. Let's have a look where else can we put one? And maybe here. Here. Here would be just finding bits and pieces to emphasize and draw out essentially. Okay. Bit of darkness underneath these windows like this. Whose sum of the separate is of the buildings? That same here, these little windows. So that left-hand side, that okay. We're going to also just drop in some shadows for the cause and areas of the windows and things like that. But I want to just dock and down a bit. I'm going to do this to all the costs, just some parts of them. And I'm not dropping a bit of shadow underneath the car like that. Yeah. Join that up with the wheels, the ties as another guy here. Like that. I can drop in another truck. Here on that side. I've indicated like that, bits and pieces, these figures. Then you can just sort of draw the mean really. And things people would just sort of walking around. Indications of detail. Essentially, there's not really much in here, but I'm just trying to make it look like this. Something here. And then as a bit of a bench or something like that here. Okay. Just popping a bit more darkness in some of these trees, I do want a little bit of variation in the trees, especially near the bottom, just to have some doc, bits in them as well. But still retained the lots of sort of green. That's already then I want to get rid of it. Just lifting off some areas. K sort of a bit here, which we can have a play around is dropping a bit of extra color in some areas. The tree, especially near the bottom here, I think this would be better if I just dock and off the section. And even popping a bit of darkness where the wind screen of that car, that that small little directional lines on the ground. Joe already there anyway, but just emphasize that a little bit more. Some of the areas I can darken down a bit, create some more contrast. Like this. Even in these trees, we can sort of draw out a bit more of the branches and that sort of thing. I think I'll just cover these back section a bit more. Just make it DACA. That region should be darker here at the bottom, these buildings to, so I'm just gonna go around and lovely P coffee. Get some additional bits of data and things in like that. Just dropping a few little strokes of color in the sky to get in indications of some goods. Love doing these maybe needs of these. This yellowed beginning as well. Let's draw some more attention to it. Little bit of blue onto these windows. And just to get rid of that, once somebody please. And another thing I wanna do is just maybe get a little texture on some of the buildings. So just sienna. Draw the brush-off and use the side, the belly of the brush to drag versus surface so fast some areas to get in a tiny bit of this sort of color. And that texture, the paper doesn't look too flat. I'm just emphasizing some of the trees a bit more actually the branches and bits and pieces running around the bottom part of the painting. Some more sort of dark shapes, again, creating some contrast. Some of that kind of coming out of the painting off to the left like that. This shutter here. This could be bits and pieces on the building. Just a condition, a docs, that sort of thing. Darkness here, just some shatter cost. Okay. And I'll call that one finished. 12. New England House: Drawing: Alrighty, So we've got these same here, say house with a white sort of fence here, the front, it's front-facing house as well. Quarter squat, a unique looking housing. It's a Victorian style house and I think of quite like this picture, I found it on the internet. So we're gonna go through and give this one a go. And what I'm gonna do first is again, just mark out the bottom of the page cut of where the fence finishes. So I'm probably going to put it in a roundabout here and that's just to leave some room at the bottom for the road, the footpath, that kind of thing. I'm not even have a person or a couple of people walking by. So what we'll do is essentially just focus on the building itself. Now the fence we know ends about here, so there's a bit of line work. I'm just putting in a little bit of light line work up here using the side of the pen just to kind of getting a small impression. And the house is a little bit simpler. But you can see with the house, what we can do is just reduce this down to a few different portions. So we've got this air of the porch up here, and on this side we've pretty much got this triangular shape on that right-hand side. Really like how that looks. So I'm going to go ahead and pop that bidden. And again, just use that side of the pen like this to put in a little bit of detail. There's another bit of detail there. And then we're going to go ahead and just popping the top of the house, which is choose these little pointed section like this. Ok. And I'm going to get that, that come down, connect onto this side here. Okay, he's pretty, pretty straightforward and drawn that on. And what we can do here is we can start just putting it in a little bit more detail around this area of the house. Really enjoy these windows, really like these windows. And what we can do is separate it out sort of halfway like this, start popping in a larger window here. Okay? And essentially just try to get an, a quite an accurate sort of shape for the window. There is a division over here in this shade in there. Some small details here in the window like that. That could be something here like a plant or something like that, but the rest of it is all pretty dark. So I'm going to go in this sort of manner. And around the edge of the window. I'm also going to get in a little frame like this case, darker sort of frame. It doesn't have to be perfect. In fact, that probably looks better if it is less perfect. So we're going to go in and just start popping in a little bit extra of the frame. It kind of goes higher and complicated-looking frame. And the topic here, I'm just going to simplify that and downs or kind of rectangular sort of shape of the top like that. Ok. And there we go. That window is when we can come back to it later. So coming down, we're gonna do this side now. So we've got a section here, kind of like a semicircular shape up the top. And I'm going to bring this down this rectangular part of the window like this. And again, just start drawing in some of the details. The age of the windows, these curtains that looked to me sort of held up on the side like this. And a little bit of detail for those curtains. We can also go in here and just color in this section. Just get these little Division running through there as well. And just color this section in. Nothing too complicated. That and a bit of detail here for the edges of the window too. I'm just a bit of that going on. I love the bricks and also there's these little creepers and vines or something like that that are just coming up with sides of this wall. So I just wanted to indicate a bit of that. There's a shrub here as well, which I can just get in a bit of indication like that. Do like this area to pop out a bit more just and mirror that left-hand side. So I'm just putting them in a bit more effort there to indicate those details. There are k and the left side of that building as well. And what I'm gonna do is just continue on over to this side and will measure out approximately how far we need. About three times three times the width of this side of the building. So I'm just going to draw a straight line going over to that side of the house. We've also got kind of windows and things popping out. But let's go ahead and just mark out generally where I want to have the bits and pieces or the top of the roof here sort of flatter and finish it off somewhere around here and we can close it off by coming down here, sort of finishing off rent rant about here. Doesn't have to be exactly as per the reference photo. And of course you've got these interesting little windows in things and love these on top. It kind of like attic windows in the ethic or something like that. I'm not sure exactly, but they add a lot of interest. So I'm going to just draw this warning like that loosely and kinda comes up here, finishes off down the side like that. And we can do the same thing up for this one. So just kind of drawing that triangular shape like that here and come down like this, mirroring this one a little bit. It's just the general shape. And let's just start drawing some of the windows, the lines, and also the frames of the windows I think is really important. Just these little bits of white sections here on the side, really important to draw out a bit more detail and another bit of detail here for some of these windows like this. There. I think that should do the trick. And behind the house as well, we do have another one. You can almost barely see it, but I'm going to just pop in a little indication of it here just to keep things more interesting. Okay, so pop that in there, just the rooftop and then we've got a section that comes directly down like that. It could be BEC section of the house. It's just peeking through. Another thing I love are these sort of trees and things coming in from the sides. So I'm using the pen here to just indicate some small bits and pieces of details. So these branches especially coming in from that left-hand side. And we've also got sort of these indications of clumps of leaves and things coming in. Now a lot of this I do want to, getting with the watercolors, don't put too much effort into just trying to get this to look realistic or to kinda shade most of you in. We can do a lot of that with watercolors. With that said again, it's your choice how much detail you want to put into these, into this tree. I'll tend to go a bit overboard at time. So that's why I really try to dial things in K. And the triggered these branches is do a central branch like this. And then you just create a couple of other branches that splinter off the sides. So this is a tree that's kinda come in off to the side at, sort of disappears off there. We've also got trees and clumps of bushes and things here and that other side as well. But remember the focus of this is the building. So we really want to make sure that we've got that in primarily. So we're going to have a look at the house now so we know that it finishes rant about here. Just where the other part of the the house just connects onto the ground. The bottom part that I really want to draw that out too. Obviously as all want there to be softer sort of shapes and, and shrubs and things kinda coming up growing on this house and the size there might be a larger sort of shrub over here, especially to it's so important with your pen and wash when you add these intersecting bits, overlapping bits. And what we'll do split the house again into approximately half. So we'll just get a little bit above the halfway mark there just to give me a god of where to put these windows. I'm going to add the first window around about here. And I think I've gone a bit too far, but that's okay. We'll just replace it here anyway. And that's one, just getting the sort of frames. And there's a bit of darkness inside here as well, which I can just do a tiny bit of coloring to get that in like that. We've got a couple of windows here on this side. And the main thing is that I just want to make sure that they are the same size and level as this other window here on the right. So we just don't want any of them to stick out and look out of place essentially. I mean, houses, do you have different size windows? But for the purpose of this exercise and also just because it looks more harmonious, I'm going to keep them pretty pretty consistent. Bit of shading here into the windows. We can go back and, and emphasize that a bit more as well known. So say we can't change it later on. Okay, So those windows are pretty much finished. This part of the house is very interesting. It's sort of starts off around about here. So I can kinda porch and you can see the edge of it kinda come in like that. And then you've got posit, join onto the house there and then essentially curved down. And then you've got this section here. So these little recall pillars, wooden pillars that just join on down to the ground. So I'm just going to draw these down now and take your time with this section as well. It's quite important that we get this bit in enough detail. Okay, so that's the sort of pillar in the back is a pillar here in the middle, running down like this here. And of course we've got actually the section of the house running here and adore. So that's kind of hidden behind, hidden behind this bush and that pillar. But I'm going to color that in, okay, and in the background as well, we've got like shrubs and all kinds of bits and pieces intersecting into this area. So remember all this area up here, it's, at the end of the day, it's old. So branches and trees and things like that. So want to make sure that they're loose and contrast against this house which has more of a, a rigid kind of look when you combine things like man-made objects and buildings and things with nature. Using the inherent advantages of it's an inherited advantage essentially to, to have both of these styles combined. Say, we'll combine that and that's just going to go on and just draw this bit here. This is a kind of fence, slit of tiny little fence here. Taking more time just to get those looking quite even like that. And just tiny bit more here near the pole, sh like that. And it sort of sits on this extra section down the bottom, which again is just covered with some shrubs and trees and things like that. Here I love these Miss Eloise bushes and things that are combining on to the house. So we're gonna get the other windows on now, this one sort of fall was in-between. Falls in between these two up the top. So you're going to put that warning. And there is actually a shrub or something just growing through here. And I'll just get that in its sort of covers part of the window like that. And we're going to go drawing that section there. And you'd have coloring been a hatching to get in that part of the window. And remember to stop putting in some of the frames of the window as well, really makes a difference. I've actually ton that we know a little bit too large, but that's not a problem. We'll continue on anyhow and say, continue on and just start popping in a bit more detail for these other ones are the rights. That's one here. And we can always change things up as well. Don't feel like you have to replicate that reference photo exactly k. So that's another window here. K is a kind of a curtain or something on the inside like that. And again, just something in the window. Bit of detail and light. Pen marks. Section up the top like that. Here. This section, I'm not just shading a bit of color here as well. Okay. Another thing I do like about the building is that we've got kind of tiles and things and just sort of lines running across. And rather as Tom is, when I'll start looking for a smaller line, I'm going to 0.05 line here, which I'm going to use to go through. And I'm just adding little breaks in things in areas. And this just allows me to do it really subtly and not kind of overwhelm the entire painting and drawing. So you've even got sections and running through the house. Tonight is just these these lines that just run through like these. So it's a great opportunity to getting some of these small details without overwhelming everything else that's going on. If you can't draw the lines or wants just do them in little sections like what I'm doing here. Lots of they are. And the more subdued the better that it ends up looking. I don't worry too much. Getting everything perfect. Just want these planks to run across like that. All my son noticeable. I'm kind of moving on TI as well. I'm not using my fingers to do this. You can draw straight lines better this way. Get a few more down the bottom here. Being careful around these shrubs like this and testing. And of course we've got this area of the roof as well as some smaller tiles and things running through the roof. It's lot more complicated. At the top, I'm just trying to get in some little lines, very basic lines like that. And we can sort of draw out even tiles up the top of the roof as well. Just things like this. Like what I'm doing here. Middle bits and pieces of don't want to overdo it though. We've got these sort of section here. So we can use this kind of curved line technique to imply bit of a conical shape. So curved lines when you are doing a lot of wash, it will imply this surface and make it look like it's more three-dimensional. So very, very small marks that I'm making, but they do make a difference in the overall appearance of the drawing. This one is pod, I'm just doing very quickly here. And of course you've got Tony breaks and things coming out of the wolves like this. And then after doing the mole, just do a few here and there and the viewer gets the point. That said, it can be fun, sort of going through and join the meeting if you've got time. It's just really up to you. What floats your boat. Okay. Fantastic. Some school strengthen this line here and that right-hand side so that it comes, looks a bit more vertical like that. Maybe a section of these as well. Just wanted to disappear in the painting later. Okay. So I do want it to stick out of the sky bit more. And the background, we've just got all these trees and shrubs and stuff like that. So we can just go ahead and indicate a bit of that. Maybe uses smaller pan small and nicht pain as well. What I'm doing here. Okay. I want to just get a few more bits and pieces running behind the house as well. There's another larger tree and shapes ran about the side and you can stop putting in things like Mole branches and shrubs and trees running in. There is actually a kind of record that just runs Haas this house actually. But what I wanna do also is let's see if we can add a fence in so it kind of them. And it just comes up here and becomes super paste, this kind of pattern like this. I don't want to get it in exactly. But just with enough detail like that, we can even put a person maybe just walking in this direction here. That one lake behind the other. Thinking where else we might be able to put a figure. This could be another person may be walking and hears will like that. Love putting in figures. It just creates a bit more life in the same. So I think another one maybe here would be nice. Maybe approaching the house or something like that. Like that. Okay. And start drawing in these little posts, essentially these little fence and stuff areas, I'm going to have to connect them. All right. Okay. We better drawing left to rot and I don't want to let's add in some bushes and things here. And it's, this could be a bit of a bush here. Add in another one here on the front. We can put in bits and pieces just of growth essentially. And then have these sort of harsh or looking shapes and fence posts showing through the back area. So again, like I said, having areas that intersect really create interesting looking pieces. Just having a little drawing up all these area of fence bits and pieces like that. I don't want to spend too much time on the fence. It's just keep on going and getting some all of these posts and comments, uh, when the person is on the left-hand side, k is join up that bottom part of the fence as well. Since we're really, really basic and hearing I just pop into another shrub or something, then there's actually a lot of shrubs and things he coming over to that rot inside. So tiny bits of detail in here won't help what hertz means. Just start putting in the branches. Coming up like that. Pizza darkness in here, even help. Indications of stuff that's going on here in the background. But this is some kind of path from that side. 13. New England House: First Wash: Okay, So we're gonna make a start on this one. And what we're gonna do first is actually just getting some of the colors of the building. And what I wanna do is actually start with these part here of the building. So we've kinda got a lot of yellow, even the trees in the back, there's a little bit of yellow on the AFS just popped in some of this yellow ocher. And if you find the brushes to be just swap over to a smaller one, this is just a smaller flat brush. Unfortunately, put a bit of the paint in there so it's kind of mixed up with some other other paints, but just bring that around. So I'm just going to go ahead and get inhibitor that top of the building, bring that all the way down and around the sides, the edges of the window. I'm just going to sort of cut around like that and just leave some of that white area on. Vary that mixture. Going all the way through his organ of some bits that are maybe a little bit more darker than others and come all the way down to the bottom here. And we've got bushes and things in these errors. Well, I'm just going to add in a tiny bit of this broader sort of yellow and through some sections of the building too, because I just want it to look a teeny bit brighter. Maybe bit of orange as well would be nice as long as we've got a kind of warm color running through, we should be fine. And what we're gonna do now is in the background, I'm just going to pick up a bit of yellow and a tiny bit of this yellow ocher and Hansa yellow drop that in to these trees and things here in the background really got tried to be quite loose with this air as well. And great things. I've also got some little bit of sap green, which I'm going to drop in here too. So pretty loose sort of indications like that and down for the top bit as well, little bit of green up here just for the trees coming in from the side like that. Okay. And yeah, open a little bit more yellow. And remember, this is going to change up litres. Well, we're not going to keep it all in the same column and add some more greens and things to it. But this is really just to add a little bit of color in there. What I'm getting is, well, is the top of the roof, so it's actually kind of a grayish color, but I'm going to add in a bit of burnt sienna and he just to warm up that area and little beads. It's truck that straining and it has to be dark and then the bottom of the building as well. So I'm just going to cut around like this here. Maybe a bit more warmth in there. So I'm just going to drop in a bit of that yellow ocher, tiny bit of that, and join that on here with that right-hand side. So coming along like that. Okay. And a bottom part of the building keys kind of interesting. It's actually greenish color looks like in the photograph, but I'm going to pick up a bit of purple. And I just want to add in a light wash of purple running through here. It doesn't really matter exactly what color is, but a tiny bit of these bluish purply color, I think is going to look nice submitted kinda contrasts and bit more with the warmth that's all around the buildings, keeping it pretty loose as well. And then there's going to be areas that blending and that sort of thing. But just go ahead and paint it all in. Try to use the least number of brushstrokes as well. It just leaves a fresher sort of impression and little bits of white to that helps. Just a tiny bit of that here. And cutting around those little plants and things like that too. If you want to put in a little bit more blue, just mix up some more and just drop it in. This doesn't all have to be the same sort of color. And I'm also going to get some shadows and things on this building later on. So here we are. I'm going to pop in again just a little bit of this yellow here. It's really believe in that yellow color. It's more of a, more of this Naples yellow here. And just the sort of creamy kind of bring that down like that just to get in these little bits of fence and things like that. Okay. To answer the poll push that. We've even got bits of this fence, which I call adding a tiny bit of these colors. Well, just to get rid of the white on some of these areas. And what I really wanted to do is, well, was just to sort of work on this area near the top of the page where we've got some of these colors up here. So you sort of warm colors touching the sky. And the reason why is so that it just melts in a little bit easier and a little more. I'm sort of naturally with the sky colors. So I'm just gonna do this little bit of this building here and the back ground just that sought of the side of the house. And what I'm gonna do here. And it's also good to sort of spray this paper down a little bit. On this side, we're going to draw it off a little bit. Just spray that down a little bit. And I'm going to add in some cerulean blue. So just sort of pick a bit of that up, dropping into the sky like that and then I'll do want it to be pretty light as well. So not completely dried. This area. So I can kind of come in and mix some of these blue in with some of these trees and things like that. So just a little bit of that blue That's almost too dark. So I'm just going to go around that building bids. And there's a bit of that tree then I'll actually pumped in there, which I'm going to also quickly getting, but firstly, getting a quick sort of sky like these Kang and going back to that grains but a sap green I'm going to drop in here and here. And it works so well when you've got these areas that is still wet, so I'll just try my best to kind of catch it while I can and popping those greens. And even if it's not so accurate, it just tends to look so much better. Moral panic when you see on this sought of let that dry a little bit too much. And so I wasn't able to get that kind of contrast. Softness in this go around and paints all these little bits of trees and the things behind here as well. And get some darkness in there too, like that. Ran that figures and cut around that figure a little bit. And then there's even bits in here, which is just kind of Dhaka is kind of fun. Some green in there as well. Extent we mix them, Washington, my sap green. So it's looking a little pike but end up just dealing with that. Hopefully you draws. Okay. Just looks a little bit more opaque than I'd imagined, sort of almost like a lime green color that's come off from that and can drop a bit of that in here as well, just mixing and mingling with the house. And I tried to do a lot of the stuff weight into wet where I can just looks a lot more interesting this way. And you can get some shapes. I'm just unplanned shapes that just look fascinating. Especially around the size of this house here I think I'm just adding a few little brush strokes maybe here as well here. And some soft sort of shapes that blending like that, I think would be really nice. They're different greens as well, using a few different greens and maybe even show up tops of greens, they are. Okay. And this is sap green is a bit of emerald green. And then I sort of mix a bit of blue into some of these greens as well so that I can get DACA, kind of green that stands out. And down this area. You can just go to gain a few little dry brush strokes as well down the sod. It helps to bring out the buildings actually say a little bit more here, tiny bit more here to some bits of these bushes that I'll adding darkness around the sides. I'm going to start just getting an a bit of this ground and I've got I've got some of these grayish color is just neutral tint. And we can drop that in here. And like recent forgotten about the The fence posts and things like that. So we're going to be more careful leaving little bit of that. Why ten? And if it goes away, I can always come back to it with a pin. So it's not a huge deal. Bit more green here. Sort of shrubs and things that are growing through. But essentially I'm just using a kind of neutral tint color all across this area. Trump that in like that. And I want it to be a little darker as well. So just going back continually, just picking up a bit more of these intronic, bring that color down from the top as well to join everything on like this, this footpath or whatever it is like that. Maybe a bit of yellow or walks running through here would be nice as well. I don't want it to be too dark and moody sky. A little bit of that yellow ocher, maybe some Naples yellow to just running through a bit of opaque paint like that. Until let it do its thing. K and sort of stand back and have a look at it. I think that's I think that's looking okay. Alright. And what I'll do as well now is I'm just going to get into a little bit of blue on to the windows, just a tiny, tiny bit of certainly in blue color in those windows a bit. So pick up this rule in blue really lot, extremely lot color. So let's go through just that. I'm getting the whole thing and just bits of it. This one here, maybe up here. These two here. And these windows here as well. So light blue wash running through that section like that with the curtains. And then I'm going to pick up some of this, just put in Naples yellow. Drop that in like that. So that it just sort of some Jews that what color a bit in there. These windows, we can even just dark and down a bit. That door or something like that. Bins darkness in here. Yeah. That the yeah. Yeah. Just getting in some of these darks while we can I've also need to put in a bit more sort of yellowish color up the top here for the top section of these bits of the houses. The house. It's just tiny bit of this going on. Okay. Great. And we'll let this dry off and come back to it. 14. New England House: Shadows: Okay, So I'm going to go through and start getting in some of the shadows and things coming off the building. And what I'm gonna do is mix up a fair bit of neutral tint. So I've got a beat here already on the sod of the palette that I've got sort of pre-mixed anyway. And though I didn't have little bit of purple as well, just cool it down a bit more. Maybe some blue is well, like this. And what I wanna do is essentially just get in a bit of a imaginary shadows. So this is going to be running across the side of this building, I think. So we'll have it coming across here. Let's have a local sort of the sod of these building like that and cut around some of these trees and that sort of thing. But I'm going to have a sort of just cuts down almost like these. Let's get it all done in one go here and sort of finishes, finishes off here. We've got a beat underneath the windows as well that we want to pop in there like that. But use this darkness to kind of cut around and the trees and things down the bottom pot and so to join up the shadows. So I'll have it be kinda coming underneath the building like that, can even have bits like this as well. And that's sort of the building. Little bit of that shadow underneath here running to the left. So imagine a shadow and light source coming from that rod hand side of the painting essentially. And strengthen that a fair bit. It doesn't have to be perfect. And then we just couldn't make the other ones match up to that. So this has a bit of a shadow coming down off the bottom. This one here just sort of coming to the left-hand side saying them. That window, to want to have a bit of shadow to the left side of these windows as well, just to emphasize the light source a bit more. And let's have a look. What else can we do? Maybe a bit more. I'm shadow, darkness running through this side like that. Okay, It's just a little bit of subtle little bit of color running there. Then we've got obviously these, these larger bits on top, which I'm going to just popping that shadow on that left-hand side running down the roof like this. Okay. This shadow to be a little bit softer as well of the draws, okay? And going around now and seeing what else we can do. So we actually need a bit of darkness underneath this area here. So just to draw out this porch and be better. And they're actually doctors behind these trees. So that definitely helps. And and in the windows we can also just darken up some of the areas that we feel would dock and enough before. So these little bits of windows, I feel I just need to draw them out. People. Okay. So I'm looking at these, how this shadow is looking. And now I can even soft and off a bit of this edge if I feel like it's just looking too harsh like that, and that's sort of running down the solubility. Great. And let's have a look. This building here in the back as well. I just needed doc and up that area underneath there, they'd have shutter then I will look underneath the bits of the rooftops are here. I think. I just want it dark in that shadow a little bit more up to March in some areas, and a bit bit of line work here as well. Great. Dark enough the bottom here, I'm going to just join this shadow on a bit to this side so that it's just softer. That bit of softness down the bottom of the building as well. Okay, you're going to continue on with this and start getting in some darker leaves and things like that. And I'm going to just mix up some of this purple color again, I really like using purple. And some of these mixes here and I think I'll pop a bit over on this side just to draw out a bit of darkness in the, maybe like a tree here in the background and I'm just going to pop it in like that really nothing too obvious detail greatly, but just a few bits of darkness off in the back and I'm going to leave it. I don't want to go back into it too much and sort of change things around. But having some of this in here is going to help to contrast the this side of the building. So that's why I'm doing it. And I'll bring this bit down here. And then we might have another bit of darkness over here as well. And it might look like a bit much at the moment, but once it dries, it will make a lot more sense and just flatten out a bit. And we've got a little rigger brush here. I love using this for just small indication, small details. So again, just sort of so that we've got some interesting edges running through here. Okay? That one's a bit darker, actually, I want it too dark. Okay. We've got it Also son branches coming off this tree here on the side, say just popped him a bit of an indication for that. And coming across to this one Now, bit of darkness for these branches and being quiet and loose as well. But I'm keeping it fairly doc and coming across this one. So maybe having some branches and almost touching the PM, building sides of the house. Hey, it's good to have some that are a bit darker and maybe some that are larger as well. It does help and have bits just sort of disappear and come back. This is sort of indicating a larger tree here to the side, but not a huge deal. Having some of these run through the law to areas as well also helps with the overall fields. So bits of sort of branches and things cutting through like this. He's nice and you can always pick up oh, so a bit more DACA paint using a flat brush and sort of cut around some of these areas. For example, these part of the house here. I want to just dock in the room the edges a bit like that so that it blends into the background and creates a contrast of light and dark here. So more of that house will sort of stick out. I want to dock and some of these other areas, I can also go back into it with that neutral tint and just pop in and Lou, little more darkness in the end to emphasize some bits and pieces. Doc and off the windows at TED. This K grade. Just want to also get a bit of dry brush on this side of the building. Maybe just a little bit of dry brush to bring out some textures. As well as some areas of Slight dot in this running through like that. Very subtle. You just draw off that brush a little bit, then go into it. And we can do the same thing sort of here as well. You can barely see what's going on, but it actually makes a whole lot of difference. Lighter, very subtle, sort of employing the shape of that building and a bit of that texture, which is hard to do sometimes and watercolors. But if you've got paper that as a bit of texture to it, you can go ahead and do that quite easily. Bit more darkness you down the bottom. I don't know how much I want to indicate in here. Maybe a bit around the figure. Perhaps would be nice. And we'll just go start getting in some of the shadows on the the shrubs and things just running over to the. Left-hand side and indications of that really with this flat brush. I'm there. I don't want to overdo it, but little shadows lie that my K and there's actually one here as well that we can kind of getting one here too. Like that sort of coming across the side of the building. And I've even got little bits of shadow here for some of these shrubs and things growing at the front. And I like to also just use this opportunity to join up some of the shapes. So having some darkness run through, There's well, so that it's not all just just so the lots in that area, so bit of darkness connecting everything together. And what we'll do as well. I'm just gonna go getting a bit of detail here for the sod of the footpath kinda comes in like that, disappears around the corner. Then k bit of bit of line work. For the prospective little details like that. There's already some pen work, but just going over the top and some little bits of mocks and things on the ground as well to imply some textures and things. So always good just to draw the brush off before you do this so that you don't get old too much. Too many marks and things running through. The figure is I'm going to just add on with a bit of probably a bit of quash, bit of blue, teal colored goulash. Use this stuff before in another painting. So just a bit of that, blue like that. Then maybe this person here we can pop in. Maybe you've read actually through here. Let's have a little cout. Is that MOOC bit more? Wash. Okay, kinda like a pinkish color. Suppose just for the person should go over it and just get a bit of dark a color in there as well. So it's normal. That same color. And the legs just dropping in a couple of legs like that. Same for these other figures over on this side. We can go ahead and pick up a bit more of that bluish color and I'm trumpeting for these ones. Maybe some red is well for that figure. Warm it down a bit. Okay. Some more of that doc, neutral tint like this. To be fairly dark and just get it to blend on. And this is where you can just start also putting in the general shadows so that dragging across the ground like that here and here. For that figure, there. Just as sort of the point in which you want to add a really the, the doc has colors in here. So I'm just going to go through an indicator beauty of this darkness in areas of the painting and the shrubs and things like that. I don't want to overdo it as well. So I love these sort of green going on in the background with the shrubs. So I've been doing it would be a good idea. It's really up to you at this stage when you want to stop. I'm just continuing to detail and add a bit more darkness and areas that I feel need extra darkness. So the bit of a shadow here, there's darkness on the side of the building. Little bit of a shadow coming through here, but that part of the roof as well, join that on a grid that looks all right. So often this area a bit that to sort of just made up a shadow for the top of this. Structure here on that right-hand side. Detail here for the and I want to add like the pizza, the window, more darkness. And that left-hand side of the windows. Then just kind of a shade or shedder. Just increasing that contrast. I don't want too much contrast in there, but NEF, open a few birds while I'm at it. Maybe a couple in there. Jane, just a bit more of that detail on the footpath. I think also this region just looks a bit to be too long. I'm going to dock in it off. Just a slight glaze on top like that. And even maybe hear that. And more texture slot glaze of the ground. I think that would be nice. And I'm playing around with a bit of white goulash mixed in with the sap green. Now, this just allows me to maybe getting some lots of soda strokes and bits and pieces. And through this area. Not a 100 percent necessarily remember this. This all dries a little bit lots anyway, so you won't be able to see all of this. And coming through green here for the shrubs and things just growing off the side. The footpath thing that's important to betray gives you so little dry white gel pen. And I'm going to go in with this gel pen and start getting in some very small highlights just on the back of these Vega here, maybe here as well. This figure here like that. I'm mainly what I wanna do is just try to bring out bits of these fans to gain, which is kind of disappeared in all of these. And you know, the trick is not to draw all we would have just wanting to get in a little indication of it so I'm letting the pan so to escape areas. Some areas, how I want to draw in a little bit more detailed and create a bit more of a contrast. But for other areas you just want to slowly. I'm just getting a few little scratch scratches in there, but not worrying too much. We're going to connect the fence together. Again, very subtly, not connecting the entire thing up. And because we want this hole to sort of blending and we don't want it to draw the attention of the viewer too much. Just needs to be there, just needs to kind of look like a fence. And it's okay to have some pods at a more detailed, but you don't want these two to be the focal point of the entire thing. These markings on the road. And then just a few bits and pieces here. But I don't want to overdo it as usual, just them. And I'll call that one finished. 15. Rural House: Drawing: Okay, so we've got the same of a kind of country cottage couple here, really small one at the back and a larger one here. The front middle path going in with some rocks and lots of sort of greenery around mountains might add in some figures. So little bit more straightforward. So I'm going to go and start off using the 0.5 here, 0.5 pen. And the first thing I want to do is just sort of adding line through the middle of the page. And just a very, very light sort of line like that came to know that there is a path that sort of comes in here and we don't have to keep it. And as the reference photo, we just can change things around. Just want to add in a bit of basic detail as to where that path is here. And it comes in and exits at the bottom. Like this. Do like these rocks and things here as well, which are going to emphasize a bit too. Okay. But what I want to really focus on is just to get in this kind of house. So we know that the roof kinda starts about here. So just left of the middle part of the page. And that kinda curves up. It's an interesting sort of roofing finishes a bit here. I'm just drawing in roughly where it finishes. And there's a bit of a chimney or something sticking out as well from the rooftop which we need to getting a bit lighter. So just put in some detail for that and going across, just want to generally put in where it finishes. Now, notice how I'm also using the side of the pens just so we've got lighter kind of mark on the page. Okay, So that kinda comes there and read about it here. We've got a section that sort of drops straight down here towards the back like that. And we've got a bunch of windows as well. There's one window I kind of across the back section there. There's a bit of a shade or something come in at here too, like this, this little shade. And at that in a bit of an indication, start drawing this section here, which is basically a little part that kind of pops out the rooftop here. Okay, We've got a bit of a sort of tile work on that part. There. We've got a section here where you've got the chimney like this just coming down and kind of joining onto the roof like this. Okay. Nothing too fancy. And some of the tiles and things. And I'm just going to giving the bottom of this how system cottage sort of roundabout here. And it's actually a section. So this comes down like this. And this becomes a sort of side part of the and the house actually cast a shadow towards the left-hand side there. But I'm not going to focus on the shadows. What we wanna do is just really focus on getting the basic details for the Windows and the general shape of the house. So getting this window here as well, like these kind of similar to the one I've drawn here on the left. There are couple sort of shutters as well. George's drawing quickly that another one here. And the great thing is that there's these little kind of lines running through here. I'm going to simplify this down, Ted that here. And we can Kenyan these little shutters on the left and right. Like that. Suddenly have to be perfect. K. And I'm going to start just coloring in some areas here, just to run the frames of the windows. Okay, I'm just going to bring out the frames. So white on this little bit of coloring in do the same here as well. The side that here is one I k. And I think there's also a window here or something or another on this section of the house and know what it is. It's just there's something there that I'm going to just draw in like that. Okay? And really just start now popping in smaller details and things like that. A lot of this stuff here in the foreground is not a huge deal. In fact, what we can do is simplify Dan and I'm just going to add in an area sort of bush here or something like that. In the foreground. I really like the look of these nice sort of rocks and things here, which I'm just going to emphasize a bit more actually. Hey, kind of line the path of this section which is interesting. Then the rest of it is just grass and shrubs, all that kind of stuff. So go ahead. I'm going to just start working on this house against the Assad to begin with a bit more conviction. And I'll do this side of it too. Notice how I draw this line in a few different segments as well. I'm not doing it all at once. There's no need to do that. You can sort of just get these little lines and smallpox and I do this so that it just ends up being more accurate. Can change the path if I'm sort of going along as well and I've made a mistake and adds to the overall sort of loose style. So going through this is going to go all the way up. There's a slight sort of curve here. But this goes all the way up like this. So the top there comes down inside that there is a little shade for the rooftop. Popping. This kind of ends up going over to that side. And this becomes the side of the house here. Kind of finishes a little bit lower than that other side, but I think that's because there's just bushes and trees and things like that running through this area. So just emphasizing that a bit more. In this section too. Having more of these pen marks show through, I think that's going to help out a fair bit. We can even do some little bits of hatching and just sort of downward marks like these on the page. And I'm also doing them in a direction of how the planks of wood kind of run as well. So you've got this section here which also has kinda planks of wood running down the entire building. And I can use a smaller pen, as I mentioned before, to get some have thinner lines and make them just less visible, just not as pronounced. Think here on the side and just getting some lines running down the building, but I'm not going to shade or too much. We'll leave that for the watercolors later. Case. Bit of this sort of stuff going on. Don't feel like you have to draw every single planking, but bits and pieces to help. Yeah. Hey, you did this roof top as well. We're going to start popping in now. So just dropping in this section that kind of goes up here. Little bits and pieces here, top of the roof as well. And even know what that is. But I'm just improvising this section here, this little chimney and a tiny bit of detail there. And then we've got a kind of antenna or something like that. But for the rest of it, all we need to do is just draw some lines kinda running across the roof like this. They don't have to join up as well. You just got to indicate these lines running across the rooftop. This and I'll continue that on really old way to the bottom. I'm not even looking at the reference photo at this point. I'm just trying to keep these very straight. But add in a little bit of because I'm drawing the line in these little segments. There still variation in this line, so it's not too sort of stuck on and stiff. So important. I should just doesn't look perfect. Okay. So that's sort of part of it done. There's a window here that off, just kind of not worked on yet. So I'll just quickly add that on, follow the perspective of that building. We've got dogmas running through just a thicker pen and get the same quickly. A good thing for this section is we're all not just popping a little bit of some new lines running across the section. Having a look at the photograph. What I'll do, I'll just get some vertical lines running through this part of the indicates and longer kind of planks of wood section or can even just draw some lines coming across like this. And then use these lines to imply the directions of the surfaces is another tool we have up your sleeve. And now over here I might, for example, just pop in a kind of bushel shrub or something like that. And near the side of the house, I'll think I'll add in a bit here, just some kind of growth. And maybe here as well. A lot of this is going to be just in watercolors, light up, but some pen marks running through here actually creates more interest. Kinda largest shape around the sod of that house. And bushes and things near the back. I'm using a smaller brush, smaller pen like this as well helps. And I'm going to just create a sort of shape Rhine Ga back just the mountain or something like that there. And we know we've got this section huge in sort of the Horizon, horizon line. There's trees heap as a tree kind of popping up around that section like that. We've got a house. Well, through this section which I'll just draw on very loosely, don't want it to overwhelm anything here in the foreground or something like that. Maybe the sod of it to some perfect but close enough. And just getting some little marks here. Again, just to show some detail for the planks of wood, that kind of thing. Opportunity on there could even put some smoke coming up. So just rest of this now we'll just detailing any some more and I'm thinking of actually putting a feeder here as well, maybe walking close to the house, getting closer. I would put him Miranda back here. Look, actually make him a bit too big. I'll have to just adding a smaller one here and turn this one into something else, like a tree or shrub, that kind of thing. Then. And these can pay bits of grass sort of going around. This happens at times with pen. You have to you have to improvise. If you make a mistake. Say just putting in S, just the tree here and think, Oh, popping. This could be just a bush and a tree maybe coming up from the side. Here. For example. Just scribbling in some branches, then maybe some branches coming up. These addiction like that. Then this can be my figure, the right size now and popping another one here. They kind of walking in that same direction that could be walking away. So one could be walking forwards, for example. Then the great thing is that this path we can just use indicates that by Pope being in these rocks here. So sort of move backwards, the rocks become more and more and smaller and less detailed. So the stuff here in the foreground, that's way you want to really adding extra details and things like that. Overlapping rocks. Have another rock here or something. They really a great opportunity to practice your drawing. It's another sort of shops, sort of rock. Okay, there's kind of Bushehr or something like that, which I'll indicate. There's even some rocks around this section here. And just get some of these little scratch, scratch in some of these mocks. I'm going to page these small rocks and things here in the foreground. A bush or something here. So we'll just joining the shapes onto each other. Bits of grass, shrubs, that kind of thing. Playing around that area too much. I'm just going to go in and pop in some of these mounds and stuff in the backgrounds. One that comes in like that behind the house. And then we've got these largest mountains here that sort of crop up in, shut-out behind his house and his sort of hit the roof, rant about here. Come back out the same like that. Okay. That should do the trick. And now you have two Segal and a few trees and things, bushes in this area as well. And I'm going to just go over these figures and little more. Just create a bit of boldness in these lines so that the figures come out more obviously. So you can see them through this sort of area. Can just thinking, what else could I put in here? My putting a bush few, just run it through. There. Could have another push here. Shrub. Another one he had larger one maybe here. Connect that on that. Smaller ones that sorted just crop out this side, near the side of the building and they look quite nice. So I want to just emphasize a bit more of those. And then maybe some little shrubs and things here as well. Again, just building up this path with these rocks, drawing them in the moment and maybe some large ones at the front two. It's going to help sort of placement. I'll just look at them as shapes and then putting them in, In areas where we can draw more attention and balance out other areas of the composition of the rock. Maybe here. One here, looses sort of shapes. And you can hold the pen little bit looser. And we'll be drawing in some of these rocks and things as well to get a mole fluid kind of feel to the drawing. Just trying to look into the building, see what else we might want to add in there, and just additional details. Single forgotten to getting these some of these lines, these vertical lines running through the back indicating the planks of wood. K. Excellent. Lines indicators will be chimney as well, just some perspective lines. Just want to add a bit of roughness or some texture on here. Maybe some blinds running upwards like this. In Aries. The roof. It doesn't look all too perfect. Now the bushier, some of these larger is lodge Japan to pop on and be more shadow on some of these rocks and large rocks as well. In this section too. I don't want to ever do it. Okay, fantastic. Leave it as that. 16. Rural House: First Wash: Okay, so now that we have the drawing at the way, what I wanna do is start with the painting. And the first thing we're going to begin with ease the house. And I really want to get some nice sort of juicy yellows, warm colors onto the house to begin with in kind of emphasize this roof as well. Some popping in a bit of this yellow ocher on the roof top like this. Keeping it pretty live. Don't want it to be we don't want it to be too dark. This is going to be pretty much the live system 1 and lots of sections of the painting. So dropping in a bit more yellow in here as well. And across the top of these little chimney. Go ahead and just coloring using a few different yellows here. Yellow ocher bit of lemon yellow. And that's about it. So just dropping that color in like that. And as I move further down, we're just going to use the same sort of mix. Maybe if a bit more of that lemon yellow in there. And I'm going to go ahead and just drop that in here probably with the windows. I'm getting a bit more of a yellowish color. Just around the air is somebody heirs of a windows to keep it a bit lighter. But really for most of it, and we're just going to go with some yellow ocher like this, quite loose. And sang here with this side of the building going to go ahead and just pop this in like that. And a little bit of burnt sienna wanted to hurt to just dropping a little bit of that. And now I'll do that in some areas underneath the roof. And even in the roof there's a little sort of stain that runs down here. I don't have to even get that A1 is just just popping in a few little bits and pieces here to change it up a bit. Okay. Shift that around a bit. Very light. Wash. Just remember, doesn't need to be anything too substantial. Now, what I've got here is just a bit of green, bit of sap green. And I'm going to drop that straight in to this area while it's still wet like that. We can also pick up a few bits of other grains. I do have some emerald green here as well, which I'm going to use in this section, some of these shrubs and things behind. And essentially what I wanna do is just get a kind of mixture of different grains running through. I don't want it to overlook the exact same. And these bits of green areas in the back that they are kind of Lhasa here. So that's a bit of sap green off in the corner and then up the topic kind of gets darker again. So I can just dark and that bit off their mixes into the house little bit. It's not a big deal, but I'm just trying not to do it and get too much of that mixing through because I want that to stay yellow and coming across. Let's put in a bit more here and notice how I'm just letting things mix into that house area. And I'm not too concerned with leaving some white on there as well. And for the area of the ground here, I'm just going to pop in some little bit of Naples yellow. Just going to drop that in a very light wash of Naples yellow. I don't want anything too dark in this section, but this nice sort of sandy color is going to be great for these rocks. Okay. And I'm putting that in three loosely, lack of that over the top. And what we can do is start again, mixing in little bits of the sap green in them. Some of the joining areas like here, love to work with into wet with this sort of stuff because you can just get a much loose, so much more interesting sort of painting from an owl's going to pick up a bit more sap green and drop that in here towards the back section. Being careful as well. Again, just to cut around those areas of the house. If we're getting areas of paint, job it too wet, just pick up that paint with the brush. Shifted over to another area. Are really just trying to make sure that it doesn't all dry. The same case. Here we go, just putting it a bit of extra paint in here, the foreground. Daca greens as well, just mixing in to this area and weight onto wet stuff. Maybe a bit here as well, just the beauty of this shrub or something like that. And you can mix into the ground there as well like this. But I'm trying to leave a lot of that wash That's a yellow on the page ID of that sap green. Still got that running through and I'm going to just get that amount. And here in the background and around his house. And with the house, what we can do is use a smaller brush, just getting some Wolf on that house. So I'm going to use a bit of yellow ocher here like that. Okay, maybe this color as well. And of sepia. And I'm going to the background mountains which are a TEDx DACA that I'm getting that to mixing with the sap green as well. Like that. Remember a move dry little bit, lotto. Ok, and here I'm just going to cut around this building like that. Being very careful, I don't want that grain to go into the building. So I can leave a little bit of an edge. And if it makes it a bit, it's no big deal. But it helps psi. I want that to kind of get in the way. What I'm gonna do now is just start getting in some of the sky so smoothly and blue, mixing some of these up. Okay, on the palette, plenty of space on my palette. I'm going to drop that straight into the sky section and shift this wash around on what this to be really light, not too dark and it will, because the sky just needs to be the largest section of the painting apart from the roof and cutting around some of the mountains, but letting some of them makes in as well. That's a good idea. So that we've got some sort of soft edges. Thrill is some sharp edges, nice little combination. And still want everything to turn green. So I'm being very careful to make sure we've got a good mixture in here. Blue, getting the kids in the house and the March just swapped to a number 10 round brush to get a bit more control. Here. There we go and just cutting around the rooftop here. Moving that cross. Remember this area of the roof is due width. So I'm just going to be be careful. Yeah. Okay. Great. So just moving that along to the sod on that right there. Okay. And I'm going to do as well, is going to drop in and little bit of color to the sky, just a bit of purple with my round brush to get in a kind of cloud shape or just to dock at clad in some areas, very subtle sort of stuff like this. I don't want it to overwhelm. And in other areas, what I'm gonna do is the opposite. I'm going to try to lift out some color. So for example here we can just sort of lift off a bit of paint to create a kind of cloud shape in here, just a bit of light area like that. Okay. And what you can do is you see dry off your brush wet, it's dried off and lift, essentially just lifting off paint from the pipa. Very subtle sort of technique. And testing. Lead this all the drawing and come back again with the second wash. 17. Rural House: Details/Shadows: Okay, everything's dried off on that wash. Now in the next step here really is to get in and pop in all the shadows a little bit more detail and finish everything off. So I'm going to be using this smaller brushes here. So I've got a couple of smaller ones are going to number 6 and number four round brush. I've also got a number 10 and a number eight round brush. And this is going to just allow me to get in some of these shadows. So the first thing I want to do is work a bit on this area at the front, just for some of these shrubs and things, I do want some darker ones here in the foregrounds, picking up a bit of green. And let's drop in a bit of darkness in some areas. So we just want to pick up a bit of that and shifted around sort of so that we've got a bit of a shadow on the right-hand side of these shrubs and sort of indicate that we're looking at the light source coming in from sort of the top left-hand side. So it's really important to make sure that we've got indications of that light. And in the right areas. Just going to go ahead and indicate some of these here. And don't be afraid to go a bit Dhaka for the section that's important so that we have a lot more contrast. Okay, so just a bit like that. And we can start moving a little bit up further as well. We can use a smaller brush and a light to use a few different greens as well. So might have a kind of emerald green and we have the creaminess, sort of bluish green here as well, and some sap green, but these are essentially loaded the DACA kind of greens. I'm using here. I see a lot of mixing a bit of sap green in there. You can do that as well. But I'm just making sure that I've got no IS sort of variety running through here. And I want to get these out of the way first. So then afterwards I can actually put the shadow is in the house and have them look a lot more effective, sort of going over the top of some of these bits and pieces here. Keep them more lights at around this section as well. And adding water in here. And I'll do also have myself a couple of smaller brushes. So I'm going to Riga also a little fan brush I'll do find a fan brush helps to getting some small indications of grass or things like this. And it helps just indicates some detail. So I'm going to just use this in some areas and look a whole lot, but it's a really good tool to have and you can use something like this as well, which is basically a rigor, rigor brush. And you can accomplish the same thing, but just in smaller, smallest strikes. So what we want here is just a whole combination of detail through this section and just some light, dark areas and running through. Okay. Remember the soil dries off and it looks a little bit better once it's dried at the moment is just all over the place. But hopefully it will blend together a little nicer. So it's also an area behind here behind the house which is going to get any of that stuff. He has just some shrubs and things and also part of the mountain as well. Up the top there, there are some little indications of shrubs and things like that. And we're going to work in and maybe some dots on that right-hand side as well. Some areas and shadows too much there, something like that. And then dry off the brush. We can even getting some literal brush strokes like these running connect onto the disconnecting a video of these bits of grass and things on like this so that it just runs through. We've got a bit of texture on the ground. Um, and it's not just separate from the bottom of the page, a bit more dark missing section as well. A lot of this is just building up texture and building up detail. In the painting. Psi, combinations of techniques laid over the top. You want probably not be able to see the pen liner as well. Do the same on this side on the left. Such starting out with a bit of brushwork like that. And can come ahead just dropping bits and pieces. He just to kind of shrub or something. And we can use the little brush as well, these little fan brush to gain some textures of grass. Running through this section, I want to keep it pretty lights over here in the left-hand side as well. Nothing too out of the way. A little bit of blue in layers. Okay. Let's take a bit more kind of grass and air. Is he just joining joining things up that and I can even use these little round brush again just to add some bits of grass and things running through. Like that's I think what I'll do behind the figure is, is I'm just going to use some neutral tint and a bit of the green mixed together. So I can get a negative. The painted sort of shape here for the fetus just bring them out of bed and kind of just work these mountain down towards this house lots in enough as well. A beat on it, mostly dark and around the figures. And that will, we've got these trees and things like that. I'm going to just join that on so that we've got some I just have a little shake the tree branches, that kind of thing. They run up a bit further like this. Yeah. Just drawing this is a little rigger brush and helps to get these shapes in shapes of branches going off. The Azi detail. Bead mole and trees and actually in here. But I've made it up. Okay. Drawing going on in there. So the Luke, what else we need to do? Darkness here. And same with these mountains in the background wanna do is just dry off my brush and just drag that brush across down. There's the mountains like these to get some texture and running through those back areas like these, and indicating rocks and things like that. Then nothing, nothing too obvious but just using that natural texture of the paper as well here. And we leave a bit of light hanging off those mountains in the background. Something like that should do the trick. Okay, so what I wanna do now is just essentially add in a lot of these dark colors, the shadows, that kind of things. I'm talking about. Basically the shadows on the house, the ones in the back, maybe some of the figures and really make doc beats and bases. So I'll give it a quick dry first case. Got a bit of neutral tint mixed up with some blue. And I'm going to mix this up, get a nice really dark sort of color. And let's go ahead and get in the shadows underneath. And you've gotta be there. Kind of. Cuts across like this. And then further down here, these thin join zone to the bottom of the side of the roof. Here, it's all just quite dark. But these sharp shadow that comes through here is really important. So I just want to make sure I've got enough cookies angle rots. I just have it come cross Han or like this shop. Sort of shadow like that. Then we'll do that, color that in. That's bringing that strike down into the ground. The rest of it. And the rest of it just goes across this they're touching on to this area of the roof and moves, just get it a little bit lower like that. Here. Sort of this side of this building there. And I just send the darkness. The back. That same goes here. So just that darkness underneath the roof. You want to just try to do this is few brush strokes as possible so that it looks clean and as she sort of shop as well. So I am just trying to get the speeding quickly and let it be. Okay. So that's one song done. And mostly go this area here which is in darkness. I got the same paint going through that. We'll draw a little bit more transparent as well. So I don't need to worry here. And we can do socially get a bit of a shadow running through here as sort of that. So it just looks like a bit of the light catching on to the sod of that roof top there. And that should come and do it for that section of the house. One in the background, just going to dock and down a bit as well. So just the loose sections in here with a bit of neutral tint. That's all gonna do really basic stuff. I don't want that to stick out of the entire painting and to get little bits of texture. What I do is I'll just pick up a bit of Dhaka paint, dry off the brush and use the sod of it like this. Just drag it across areas. So this is the area of the roof top here. And there's a lot of weathered tiles and things like that. So dragging that across here is going to help indicate some of the texture. Tissues of the roof can even use a bit of burnt sienna, bit of red if you want to indicate some sort of Ross, These kind of color like what I'm doing here. Probably bit too dark. I'm just drawing off that brush. And I'm moving it around. Bit forgotten to get on a bit of that shadow as well for these chimneys. So I just can say now that kind of runs across like that. Realize now probably the other sections should be 10 Docker, so just underneath the roof top here and some of these areas, I'm just going to drop in some extra darkness as well underneath here. Let that melting. So there's sections. Please do it. And I'm really, the rest of it is just looking at some small bits and pieces here, the foreground where men won't want to bring out areas of darkness in the shrubs. In a beautiful negative painting here. Darkness and dry brush strokes to indicate some DACA, shrubs and bits of grass as well. Hanging through the combination of brushstrokes and different tones. So important that she just needs of the house here where we've got all this lot hidden the side of the house. And do you think some DACA sort of bits of grass is going to help to make it stand out. Beta will give it a try and see how it looks. Some of these part of the house, you can really be touching ground. Anyway. Bit more here on the left-hand side. Using these to suit of law and the road as well. We have here behind the house. Draw off that brush dot and Sundays tree here, base of that tree. Bit more darkness in here just to join it up. And we've got all this darkness running through the bottom coming up. We have to get it to move slowly. Move up to these areas rather than just stopping abruptly. Piece so brushstrokes coming into the painting that left-hand side there. Love these sort of little dry brush storage running through really helps to keep things fresh and interesting. In this, I'm thinking. Again just to draw out more detail and contrast between the house as well. Never be afraid to go. And docking areas we need to. With your watercolors, It's crucial as it helps to draw out all the lotsa areas. It's, it's all an illusion. Do have some of these little rocks and things here in the foreground, which I'm going to just create a bit of a shadow on the bottom parts of them. This is just with the beauty of these neutral tint. Not much at all. Just a little kind of soft sort of mocks on the bottom parts of them. Create a bit of depth detail for them. So just nothing to dock. And testing. For the figures. I just want to use tiny bit of quash mixed with so thoroughly in blue for this one here. And a blue for that one. For the other one. I think I'll grab a bit of red and mix that in. Here. You get a pink color like that. And for the legs, I'm just going to use pure neutral tint and to just join on their bodies into the lakes. And also what's going to be important is just adding a small shadow here on the ground. Kind of going towards that right-hand side of the painting, connecting that onto the legs. And that another thing you can even adding pretend shadows. So if I put a large sort of shaped shadow coming across here, for instance, this model look like a tree coming in from that left-hand side. Like that. Something here as well. We can have pain, maybe a pretend shadow running down here. Okay. Thank you. So I'm just needs to be soft enough bits to be too much. This little indications of things running across like that would be nice. Very subtle, but does the trick. Ucsc, am I doing? And it'll be ready for the spawn. Couldn't reach the red, red for the heads of these feeders. And then maybe some birds in the sky to finish it off. Okay, and I'll call this one finished. 18. Victorian House: Drawing: Okay, we've got an interesting sort of house over here to single house, and that's on its side. So we can get a bit of a solder that 3D perspective in it's also very complicated house if you can follow through with this, I'm sure you can follow through with that. Any other house out there. It's really good practice. Run for you to go through and sort of try out drawing all these different shapes in different combinations. So don't worry, if you don't get it exactly, just think of it more as an exercise to understand shapes and joining everything together. So I'm going to firstly start off again with bigger than the ground areas. So stopper around about here just where the house finishes. I think I'll just draw that lining ran about here. What I'm gonna do now is just draw a line generally dissecting the page just moving upwards like this. And this sort of signifies the center of the house, sort of where we've got this section here of the patio, the shade there. That's going to be essentially the the wall of the house next to that shade. So I'm going to start off also going on and turning this into a general sort of rectangular shapes. So if we look at the shape of the house, there's all types of interesting things on the route of triangles, but it is going to cylinder sort of shape here on the side, there's another bit sticking out there, but essentially you've got a rectangle on its side. So that's what I'm going to simplify this down to and getting some real basic details of where I want to put everything. So if we get in the big shapes, the smallest shapes will follow through a lot easier. So anyway, that's the kind of general rectangular shape. This be kinda comes down a bit rare. This bit here is quite interesting. It kinda goes up, but I'm going to get in this area of the roof or so we've got a section here. I'm sort of comes out like that, finishes around a bit here. Some storing a section like that. We've also got this section of the roof. This sort of just pops up. And it's an interesting sort of, sort of section, um, but it comes down random base, yeah, and then it pops up again and here. And then, and essentially you've got a section over this side, a, this section, this sort of comes in and joins on random data here. But this is all in the shade. You have to remember this whole section here is just in the darkness, so we don't need to worry about that too much. Kept this bit coming up like this. And finishing this bit off here. Okay? And of course on top we've got this kind of pointy sort of shape dome thing at the top like that. Okay. And here just going to connect that on getting a bit of the side of this house. So it's a kind of triangular shape here. Okay? And connect that up again like this. And this whole shape down here is just the kind of cylindrical, interesting cylindrical shape. I'm not so fast with the date house, with just the main shape. We're looking at. These little sort of shade or something like that here, kinda going downwards. Okay, that finishes here. This continues down the page, all the way down to read about where this shape starts. So it starts right about the center of the page. So I'm going to go in like that. Let's go quite loosely. And we'll just pop this warning. There's also a section here of this window kind of joins on. It's interesting, it's sort of intersects with the shade, like that very subtly. Okay, and then it comes down like that. There we go. Got a section like this. And let's have a look. The, it actually pops out a little bit more. So we kinda have this section coming up side here. This is where the This is where this small window is random event here. Just drawing a bit of a rectangular shape there. And then I'm going to go on pumping or rectangular shape here on the other side. Just like that. There are some little leaves and things on the side here as well. I'm just going to bring this can bring this down a little bit of further like this. It's actually should extend out the stem section of fair bit all the way across some of them join and little bit, too little bit too short, but that's okay. We'll extend that further. Okay, and then we go into this section here. If you underestimate, overestimate darts, sort of go over the same section, try to scribble it out, just redraw where it's meant to be. And the rest of it. If you sort of loosely sketching it all kind of blend in, so no need to foster that. So here's a top sort of window there. We've got two windows below as well. So just sort of draw those in like that. There's a few kind of shapes around the side, these kind of frames, which are quite important. And we've got a section over here that kind of comes out and drag this panel the way down as well like this. And the great thing is with these kind of draw in some sort of shrubs or something. Again here too. There is also a bit of a staircase or something. And over these sides. So what we can do getting in bits and pieces of that. But firstly, I'm just going to getting some of these little pillars and things that are holding up, holding up these bidders shade this paddy are here, joined that on like that. And have a look, There's actually sent a sort of one that comes out like that, comes all the way down here. And then we've made me go one down the back like this and just following that shape down as well. Like these, there is a little and little fence or something here, just a little more balanced trade like that. Join that up. Same goes over here and these sides, some of his sort of disappears behind that bush, which is okay. But there's also a lot of Bush kind of coming out and then covering a fair bit of this bit of the space here that are leading up. And I'm going to try my best to sort of getting some indications of the stairs. K say that. And so something very basic like this is where the first one we'll start maybe hatching on this side. Then I get this. Now the string hanging over like that. Then some branches of the trees, especially near the base. And have a look now being the window or the door here. Just like this, is a bit of a frame, little white frame that sort of goes around as well. So you can go ahead and color part of that in like that. Okay, then we've got another one that's sort of just joins the stride onto this side here in-between these two areas. And again, just a bit of work like that. And I'm going to do some slight shading, not too much. Something like this. A line that comes down. They say just implying small details. We've also got this part of the building that still comes down here. It's very interesting building and then the same, something like it before. And got another window here that sort of follows directly underneath the one here. So I'm gonna go ahead and color this one in like that. K. And just putting a little bit of this small gets a detail up here. And tested, reshaped this section here as well. Like that, just so that we can get a bit more definition into this area. Okay. That's all going to be a bit of a shadow on that left side of that building, this whole area. He's in a sense we can even go through and just shied, hatching these here like that. And do the opposite. The side like this. And just to remind myself which areas to shading in a bit more detail on the windows here. Like these trees on the side. And, and so I'm gonna just go ahead and get some all these little shrubs and things. Emphasize that we've eaten mold. This is the largest sort of shrug of decided to putting here, we have a tree that's sort of branches out like that too. Just very loose sort of shapes. I'm exaggerating it a bit. Okay. Yeah. And, you know, we're going to have a lot sort of coming in from that left hip. Right-hand sides are forming shadows kind of on the left of this area as well. Which is going to, I'm creates an interesting patents shadow patents. Send. Another thing I want to do is just getting some little bits and pieces of the buildings is actually little planks of wood or something like that. So I'm just going through and doing some little bits of loose strokes and things like that. Over here. I'm just going to separate this section now and we'll go the opposite direction like this here. And test stick and cross again like this. K and some downward strokes here for some of these areas. Sort of very cool kind of planks, sort of things that, you know. And this sort of laws like these great thing about using your line work is that it helps to imply the shape of whatever you are doing as well. So, and even these little shapes, I'm drawing the lines in the same direction as the running. And trying to keep them very lies well, so that it just doesn't overpower the line work that we put in before. So be very mindful of that. You just want them to be very light lines that go over the top of everything else. This and this section here as well. I'm going to just separate this section out and have some lines running like this. Has some vertical lines. This okay, we've got a bit over there. It's not perfect, but it does the trick. And it can also emphasize some of these windows a bit more to just them during the frames of the windows. And I can hatch in a bit of detail, but if shade for that one, this one as well, just hatching some darkness here and the edge there. Here's well. Okay. Nothing, nothing too serious. Okay, so now I'm going to move on to the left side of this building. And I want to separate these apps will just draw a line like this, coming up to kind of indicate these interesting sort of triangular rooftop feature. Comes straight up like that, down and move back here into the section of the roof. Okay. And I'm kind of connects on there. And then this pot, of course thank continues up and then moves up into the main section of the roof. So lot of that's already kind of droning, but that's the gist of it and don't need to be perfect. Like I said before, can I say, the main thing we're just going to make sure is that these shadows and things are in the right sort of position. So having a look at some of these areas here. So just underneath this section, we're going to separate this building into half because this is where the side of with the windows sort of starts coming out. So I'm Drew or line dissecting these sections straight enough. Okay? And what I can do now is just start drawing this side of this shape like that. Okay? And we've got this whole large area here to play around with basically a popup window here, suddenly one window and this entire, whole is quite, quite interesting. And there's a bush here. I'm just adding some more leaves and things in there to keep things interesting. Also, just bring these further down and drew me in, I create a conic section here at the bottom too, like that. And you can also sort of join onto these side of the house like that. To that side there. It's very interesting sort of phage on white pulpy. In this section he announced sort of runs halfway through this building, is sort of the house and pop that in here. And basically you've got these lines coming down from the center. All these triangular kind of kind of feature. Okay, So I just comes directly down the center. So these kinda eaves and things and draw that line going directly down to the ground. Like that. The rest of it, it's going to be a little bit easier. So now we can have these sort of section that connects up. We can drawing and this rectangular sort of shape here for the window. And one hears will sort of lining up. And now we've got one over here as well. We're going this side like that. That kinda joins on there. And the speed of this, the final loss age of the house just comes down like this. Connect them like that. There's a small window up the top there, which I'm going to just getting quickly like that. Emphasize the point of the roof as well. And this slope downward sort of slug here, there. Join that whole lawn nicely. K, There's actually a little chimney around here. So I'm just going to sketch warning. That could be something basic. And then a hatching on the left-hand side like that. And let's have a look. I think what I'll do is just getting some little lines running across like this actually. And then for this section I'm going to have it coming up like this. And this section here I've just shaded in slightly. But notice the lines and making them run in the same direction. Say helps with the perspective and sort of adding extra detail. Is the area underneath the roof color that in a little bit. Let's have a look. What else have we got? Now mafia worthwhile at this stage, thinking about what else you want to con, uh, adding to the same. And I'm thinking on my adding a car or something popped in the pot in the back. So let me just think what we can do. I think we're just getting a windscreen sort of running like this. Oops. Maybe the wind screen just running around like here. Like that. K and top of the deck that front of it there. A couple of windows like this. And blue section at the bottom here. We have the tie of he and maybe a tire here and one here in the in the front. It's really a basic car here, but I just wanted to put a shape in there, essentially to keep things interesting. Okay, so there we go. That's a car. My eyes anyway, and I'll just pop it in blue shadow underneath and sort of remind them to put in a shadow to the left-hand side for this car because we've got it sort of sitting in the sunlight like that. Okay. Could put in some tail, lots of something here. Keep it more detailed and also just had should be away at the windows here on the left-hand side, a font that's going to help to imply a little bit of darkness on the left-hand side of the car. K connected up to the wheels. Fantastic. Another thing I want to do is add in a figure. So maybe walking towards the car or something, just open that foot there. Now the foot leg then sort of walking towards it. Kinda telling a story. And we might have someone sort of around here as well, perhaps just walking towards the car to submit a couple of figures in here. And that's the great thing about adding fees. That just adds so much life to the actual drawing itself. Say, anyway, going along and just continuing. The sum of this detailing looks and small vertical lines running along just to mirror this, the other side of the house. To sort of continue on that patent. Let me just draw that line in a bit more detailed frame that we'd better. And again, it's getting some of these lines running across time building like this. Remember to cut around the fingers, bushes, that kind of thing as well. Keep it all in line. And the interesting thing is this bottom area. So I think I'll just hatch a way at the bottom to darken it a bit here. Sort of goes all along the o long the house. And we can just sort of draw this one. This last little bit hanging over the side here, like this as well. I think this is going to be interesting, kind of cut around the car. So that is extra detail here in the background. Like that. Joined that all up. And it can be the roof top like VCE here. And now that be sort of running down the Saad. Who knows Just the section. And we've got a window here. And it's just cutting out that power law. And that's in the way. That poll that, and there's a sort of static high, so something just coming down. I'm not going to worry too much about that. In more detail. Underneath the house windows. And this is where I can just, again, just stop coloring in a bit here. Can it be that if that data on the window in them, these little lines coming across, again, these are fantastic to just imply produce picture of the house. And then carry that on the other side as well. Okay. Great. So let's just have a look at this section here. So that's another section of it. And it's kind of continues on this little Patton them know what it is, but just these nice sort of patent that just runs through the house here as well. And go it kind of move these vertical lines running like that. And this section of the roof, which kind of pops out like that. Then move these vertical lines and here's, Well, get over this side. K. And we're gonna go in with some horizontal wines. Lotsa. These teeny one. This should be another weekday is couple of windows I've missed out on. I'll just put these in here. One here. And the other window here, just beneath the other one in the figure. Some more vertical lines. Horizontal lines on a carry their own way down to the bottom. Like this, just cut around the figure and do this sort of angle. Just to imply the slope of that. And one more line work. Okay, and the same thing goes here. And you can also do this with the brush lighter. It doesn't have to be with the pain. I just feel like doing it rarely with the pen. So no right or wrong way. But the it's good fun to sort of get it all done in the first guy. Later on, you can always add more details with the brush if you need to. K. This section at the bottom goes around like this. The base of the house or whatever it is, and carries on to that side, even in a case, actually need something else over here, some trees or shrubs, just a bit of a loose, a sort of things coming out from that side to help you mix everything together and create a softer sort of edge there. Let's have a look. I think I need anything else for the house really just I mean, you can just keep on going detailing bits and pieces in there, but essentially this is finished and ready for painting. I do want to just apply lights are on maybe a bit more of this path leading into the house and the sort of sort of pathway like that. I think that's a good, good sort of idea. Bring that out. Comments it look like there's a footpath or something out out in front. But that's about it. 19. Victorian House: First Wash: Okay, We can get started on this one. And as usual, what I'm going to start doing is putting on all the warm colors first. So I'm going to start off with a bit of Hanukkah yellow. Okay. And I'm just going to drop that in just on the top house of some of the rooftops here. Now I'm going to change up the color scheme a little bit and essentially just make these a lot warmer in terms of sort of pinks and yellows and things like that on the side of the buildings. So I don't want to leave it completely. Why does it easy in the reference photo in some areas. So it's going to go through and pop on just different mixtures of colleges is a bit of burnt sienna for the pots of the roof tops. Pick up a loop, kind of pink here for the sod of the building. Just some pink Trump that in like that. And go around. You can leave some areas of the windows as well. And the top parts, I'll just again, just adding a little bit more of these burnt sienna. So it's still warm. But I guess Doc, I've been what it's normally. Okay. And coming down to the bottom bit more pink in some areas, just warm, essentially. And we'll go through a bit more yellow, especially underneath the patio like that. That left side of the building. What I'm gonna do is also just going with the bit of warmth. It doesn't matter too much because I'm going to color over it anyway. But there are some woman areas actually, I'm pots of the rooftop and things. So we just need to employ some of that lives on there. Okay. Even these buildings here at the bottom, we can sort of go over them with a light wash of color. And maybe more yellow. And let's put a bit of pink even if it doesn't really matter. Just something like this, okay, going around these shrubs and things, notice that I'm painting very quickly as well because I don't want these, any of these to dry with any obvious sharp edges. And we've got trees and things here in the background as well. So we can pick up a bit of set grain drop that in, pick up some other kind of greens and just emphasize these trees here and there, not actually these big, for example, this one on that right side. I'm really made it quite large. And I know it's not that I'm actually exercise, but I do want to exaggerate that a little bit more just to have some darkness running across this side of the building. And I'll do the same thing with these tree here. Dropping a bit more of the solid color, it more yellow into that green to just lots and it up and be as well that and just cut around the top of that building, the k. And that should be RI. And for the rest of it, I'm just going to use some circled in blue, so just going over the top and this is probably a bit of green in it as well. But I want to catch this area of the roof while it's still slightly wet. So we get a little bit of blending going on. I don't want to overdo it, but just a little bit. Okay. Guys, just cut around that SOD. I'm using quite a large brush as well, which makes it difficult to cut around. And at the same time allows things to blend easier. When I do this, I just don't want to. Overwork and area are spent too much time in a particular spot of the painting. So larger brush always works without reason. And coming around the side here, bit more of that sky wash. And we'll go ahead and finish off this section. He had to and notice, see how it just sort of blends in with the sky. The edges slightly soft, but it doesn't completely mix, which is what we want. We don't want anything leading down into the buildings. And to significantly so just go around the edges like that. Some of these trees and things on the left have already started to dry and it's hard to kind of get them in. And this blue in amines do what we can like that. Okay, continue on. Like that. I've actually darken the sky little bit more than the reference pictures where all I just want to emphasize that feeling of lies on the building. Okay, but this will dry off a bit too. Here for the ground. Let's mix up a bit of green. So I've got some sap green I'm picking up. Jumping that in here. That's some of these bushes and things here in the front. And the same goes for that sort of Bush's another one there. What else do we have? Got a bit of grass sort of coming across like that for the rest of it, it's really just kind of neutral tint color. So I'm going to pick up a bit of that, maybe popping some red as well in They just a warm up these colors. So it's kinda just looks like a grayish color, slightly warmer, and put that in, that mix that in, get that ultimate mixing with the green, do its own thing. Okay. And now I just want to also dropping some yellows so that it doesn't completely and just doesn't look too dark. And people were yellow through here. Yellow, it would be nice. That's makes that through the k and the cars. Well, I'm just going to just add a bit of yellow cups and the slot of it. K. What we can do also with these trees, just give them a bit of a spray on that side like this. You can do it over the entire sheet of paper here. And from here, just going through and adding some wet on wet brush strokes through some of these bits. It's a tree, branches and leaves, clumps of leaves, that sort of thing. And I'm doing this while the paper is wet so that I'll have a more softer kind of effect on they're really want that effect that's softness coming through. So I'm doing it. This is odd, is drawn off significantly, so I can just sort of rewet it like that to get it to come alive again. And it's important to have both sort of lotsa areas and dark areas in here as well. So just keep in mind that you've got both in getting a bit more of this green here coming through. And this could even be a bush or something like that here. Nevin not I just change things around to what you'd like. A dude find this area just them. Sometimes you need to change up references to suit and you'll painting or whatever you envisage to come out and the actual painting. So don't feel constrained by your reference. You'd have blue in here and this will just melting and turn into part of that part of everything. We won't blue some over on this side as well. Like that. We're almost done with this section. I'm just trying to put in a few little maybe a few little strokes here that will bleeding of some vertical lines. Could be in trees, tree branches, software sort of tree branches in there. We can do it for this side as well, just a little bit. Coming up like that. The rest of it we can sort of do them sharp strokes light on. So let's give this all a little bit of a dry and we'll get back to it. 20. Victorian House: Shadows: Okay, so for this next part, what we're going to do is focus a lot on the shadows. And we're going to get in the areas of the shadows only lots of side first, I just want to get these ones app the way. And I want to use a bit of purple. I love using purple here for these areas because you sort of go to war and especially the yellows, reds in any sort of Kula color running through is going to look nice as a general shadow colors. So I'm going to drop that in just on the roof top here. And I'm pretty joining the shadow with pen actually. So we're just going to go over the top of that and then keep it fairly dark in here as well. Getting a nice shops with a shape like this. Doesn't have to mandy kid exactly, but something like that and be nice and coming across this sort of joins on here. And then you have to be pretty dark with these color as well. So it's a full strength tone really coming down to the side and it's sort of touches the roof right around here. And go to section of these rooftop here, which then has a shadow on the left-hand side of it. Not want to get rid of all that and want. So just making sure putting that shadowing but not losing the building and the process. Okay. If shutter here maybe on that left side of this, There's maybe this shadow in the name there. Some slight, very lot shadows coming down that lives outside of these kind of building. So top part of the building anyway. And here there's actually a bit of a shadow that crosses over to that on the building, which I'll getting I like that here, the bottom as well, but it's shutter there. Okay. Let's have a look at what else we need to do. So underneath actually this part of the roof there is a shadow sort of joining up bits and pieces. They, so that's important to getting just a bit of that darkness there. And let's have a look. What else do we have? We've got a bit of a shadow being cast around this section. And then right through this window as well to the left-hand side, There's this kind of it is shattered. Oops. It doesn't have to be perfect. And try to sort of get it in, in one font that works best. We just join on, join everything on. As is. I'm on even get a shadow here. It's not really there, but tiny bit of that in there like that. And this roof top, I'm going to warm that up just copying a little bit of that burnt sienna. It doc and this rooftop little bit. Okay. Join on. The bit more darkness here on the left side where it's kind of in the shade. And underneath, we've got more darkness. So it kind of around here all the way across. Just to shape its costs. What emphasize this just came in a shop, a shutter running across that side of a building like this. Okay. It's a shadow running on. So the VS is as well like that. Underneath is part of this days. We want to just darken that up to and continue this pattern of shadows sort of running to the left side here so I can to get the soul being and blended like that. And be more neutral tint would be nice in here as well. Something like this. There, maybe add more blue in here. I have these speed of cobalt blue, just so that it sort of looks more purple. This area also is going to be DACA. And this little shadow being cast on the song of these rooftops. I'm going to pop that in like that. Just shop shadow there. And it comes down something like Greys working its way through. And I want to make sure that line is pretty shop saying here as well on the top. This whole area here as a shop Chateau right next to the yellow on the illuminated side. Like that. Same goes for that section of the roof. Then old joins on. Like that. It's just one big shared essentially. Really loaded this stuff here is just darkness. I can go ahead and put a lot wash of these purple running through here and not worry too much about all the detail and things. We can get some of that in light of that or you can leave, it's in pieces of yellow showing through kinda like the div for the window for example, moving down. I don't want to let any of that drawing kind of funny. So loyalty and areas. So that's why sometimes I kind of go back over an area and shift some of the paint around so that it just doesn't drive. Funny, but it's, it's almost impossible what times do with watercolor. You just have to play around with it and see what it does. Then a bit more darkness into the rooftop can pop in like that. Very careful. Get a bit more contrast in there. This and also forgotten about this house here. Sine psi part of this house. And get that in. This is going to form a shape around the car so that we've got a beautiful and lots I colored paint on the car just to indicate the sunlight catching on catching on the sun and that costs DOC and off this area mole next to it to completely emphasize that affect. My actually also add a bit of these pebble paint and that left side of the car here. So we know that the lots coming over from that right-hand side there and get this all in at the same time that's pumping the shadow of the car and the wheels here. So just the beauty of these shredder running underneath and running under here and going over to the left of the painting. Like that. We've also got a little bit of shadow on the stairs. So I had just a tiny bit of this to imply what's going on. So we'll just shatters and these trees and shrubs, We can just pop in a bit of dot is on the left side of them. Like that. And lengthen out the shadows being cast to just to the back-end like that. Say something like these is going to be another one bit of shadow on the left-hand side and then it just shifts over to the left. Like that. There are even some of these trees are varying section that we did before. We can sort of go over it in areas and dock and places as well. So even here right next to the house, I'm going to dock and a fair bit in some spots like this so that I can get a shop, a kind of edge that maybe mix some purple and the true taint him it to dock in it down feather like this. It could be a country or something. It doesn't matter. But doing this to create maximum contrast for the yellows in there. But And also where he that I don't want it to completely stick out. So that's why I'm sort of softening it off and playing around with it as we go. And bits of these little tree branches and things like that also running through this section nicely. Have one running the opposite direction like this. One too many near the actual house. Just be careful. Do the same here on this other side up probably to less less of a degree. But I do feel that there needs to be a Shi'ite that runs up the side here and it comes in a bit. So leave that sort of tree shaping like that. In this one, like this. And only cost you get another bit coming in like that as well. So we're just looking at the composition in general and just trying to figure out there's all this empty space here. So we can fill in a little bit of it. I don't want to feel and all that. So that's why I'm just playing around with those trees here and that left-hand side creating more contrast as well for the houses. Yes. I'm just darkening off some spots. They dry brush on the ground floor, the, the path. And in a bit of color for the figures, I'm going to pick up some of these blue, cerulean blue mixed with white goulash triplet in here for these, figure. It a blue there, this one here. And just play around and maybe put it in red in there. Change it up a color up a bit. Then we want to pick up some neutral tint, some straight neutral tint and dropping the legs like this loosely and let it melt into the body of these figures. And this is where I can just sort of putting a bit of this sort of shadow running towards the front connecting these figures out and Beta as well. Just darkening some areas of the windows a little. I'm going to do all of them, but just some areas and pick out some areas of shadow that we might want to emphasize it a bit more as well. Just be the long work here and there. Slump slight texture to draw off that brush and just see if I can get a bit of texture on this air. That's too much. I'm going to draw that brush-off, usually like this, maybe size of the Earth here on this top hot. Create a bit of interests through this area. Can even do it on this. Just a little dry brush strokes, imagined detail. So it really then this pod is also been talk of this shadow here. Let's see, maybe we can talk and the spin off like that. Shutter is underneath parts of the roof. So often these little guy, it'd be better. Emphasize some of these shutters costs to the left of this part of the building. It's not really obvious, but I think I'll just need to do it so that it looks more three-dimensional. The shutters already in their pizza darkness in here, the windows and things like that. More texture on this side of the house. Again, just using that side of the brush to dry brushing in some of that detail. Forgotten to get in the shadow for these little bush or whatever it is. It's not too important. Glad. Directional lines running through places that side of the building is also a little bit darker. So I'm going to just darken it off from it here. Smiley. Run that through like that. And I'll think I'll call this one finished. 21. Washington DC: Drawing: Okay, This is an interesting looking townhouse, same and really like the little shadows coming off of these shades of these townhouses or also like the stairs, the colors, some of the trees here on the side. So that will go ahead and try this one out and I'll go through my entire process with you. So what I'm gonna do to begin with is quite usual with the same sort of process with all my other drawings. I'm just going to go through and mark out some really basic details to get us started. So firstly, I'm just going to put in a little line at the bottom to indicate where the footpath years. Okay, So we're gonna make let's say, let's make it a round about at this size. So I'm sort of round there, give it a decent border. And I'm going to go through just adding a little bit of ground like that. Okay? And another thing we're gonna do is start separating out the three buildings. So I'm going to draw a line here and here to look, keep them around the same sort of width here and here. And it does kind of cutoff where there are a few other buildings here on the side, I should crop this picture. So I'm gonna go through and I'm going to just add in using the side of the pen just a little bit of very light line work to sort of finish it off. Roundabout here. Okay. And we'll go ahead and let's just draw a line coming across like that. The great thing about these buildings is that they all the same height, which makes this a lot, lot easier to get in. And this one sort of finish us off, just oriented at here, say pop that in there, or separate these buildings into half here as well. And just really loose with the drawing. So we can change these lines are a bit later because they're not perfect and they're not meant to be there. Just forming a rough guide to make it easier for us to join all the details and we placed the small details and spend the time to actually draw out little things. We know that they're going to be roughly in the correct position. So what we're gonna do here, now if we look at the bottom of the buildings now there's actually a little wall separating. Kinda comes up here, comes across like a dance, just really basic sort of law. And then there's another beam that sort of comes up here to this side of the building. And then you've got the footpath here in the center. So sort of distorted Towards the size like that Really little bit of perspective. They're not even thinking about it or too much at the moment. And we've got the most important thing here, just finding that separation in the buildings. So the buildings almost are separated into half, just the, just a little bit less than a half. So I'd say around about here, just want to draw in the line. We'll do the same for these other buildings to just little little mark like that. It's all I want to do. A couple of small booties you inside which we don't need to worry about. And this is going to help us to draw in some of these little basic detail. So here there is a little kind of a shelter, not sure what it is, but just a little shade patio kind of thing that we can just drawing like that. I'm going to get that coming across. And the great thing you've got this sort of clump of trees here, which I'm going to draw tiny bit of few loose, rough kind of marks like that. Going into this tree. Here on the side, just some branches and things going up here. We can always change this up in modified a bit later too. Okay, but this is essentially what I wanna do, just adding this little push your tree, something like that here on the edge, okay? And notice the shadows all running towards the left-hand side. So it makes it really easy to get some shadowing from that tree. So I'm just going to go ahead and finish off that patio popping there. That's basically the underside of it, but we'll get into a top part of it like that. We've also got this days which kind of finish Ran about here and it's like halfway point between the bottom of the stairs and here. So I'm just going to draw a little bit of a general stairwell here, just going up. I'm not going to spend a day with just indications like that. Okay. And then also just want I'm getting a little bit more step like that. A lot of this is actually going to be covered with the shadows of the trees coming up to the left. So I don't want to detail at all too much. Okay. I've got generally where It ends. So we can just pop that in. That can be a step like that. You just, you know, steps going up to the point. We can't see too much detail. And we've got some railing here as well. And the solid which is really important to stop popping these vertical lines in here. Not really going to, again, pay too much attention to have detailed these. But then we've got, of course, this little section here which is Kayla comes down like that. And then we've got section of that pillar running towards the back there. So sort of touches into the ground and there's a pot running down as well through here, another pipes running through the building along, alongside the and then we've got all kinds of like details and things over in this side which we can go ahead and emphasize, I'm actually going to put in a dollar or something. He adjusted, kind of hatching a bit of detail like that, sort of potential indication of a dual, get that kind of a framing for it like that. This could be, there's actually a window here. So I'm going to draw in that sought of a window here and that sort of cuts behind the tree, disappears behind the tree. And then what we can do is just start working on the top part of this building now. So this top part is divided into two sections. Actually learn about here that sort of starts where the roof top of the building isn't noticed. It's about two thirds and then the third here. So you want to just divide it up around just above the midline of this section, so just a little bit above the mid area. Okay? And here we've got three windows and don't need to be perfect, just going to put them in roughly in the, in the place so that it looks kind of even in areas. I suppose that's the best way to describe it. You don't want to have a window here, window here, and then one sort of going off to the side, just get them more or less even so that it looks balanced and it doesn't have to be perfect, like I said, is just more than general positions. So this just a little bit of detail on top of the windows. And these little white bits on top. The windows do have more, little bit more detail inside them actually. So you can go ahead and just add bits and pieces. Is an air conditioner or something like that sticking out from the window. And again, there's the bottom part of that window drawing some more bits and pieces, some little details can emphasize this frame. But this pot, this moment, I haven't even changed Penzias. So that's why I was saying for you don't need to really worry too much about the NAEP size if you go to general meat size Nidre like a zero-point fog or 0.3, you're going to be completely and finds this going and get this top section in. Now, it's a little separated section of the building like that. And bring this down here and go across like this. And getting this kinda chimney, chimney like structure here. Okay, so just kind of pops out like that as the sod of it. Then this comes out the bottom here, like that. So we've kinda go like this sort of structure there. Yeah. So that's a real Pasi chimney. These two sections here, I'm just going to get into kind of a triangular shape. And that kind of miss spans across both the windows were part of that part of it. So it starts here and here like that. Okay, so let's go ahead and getting the bottom part, which is kind of a rectangular shape like this there. Then we've got a triangular bid on top. Yeah. That bit of detail. I'm not trying to emulate that reference photo, but just smaller bits of details in there and noise. And we'll continue on now to this other building. And now that we've got the first one in, the other ones are going to be a lot easier to pop in here because we can follow the reference and the lines of that other one here on the right. So go to q, just a blue, It's kinda shade, I suppose, of this one. So I'm just going to get that in our love this shade, It's really. Sticking rot out in the sunlight. Okay, So I'm just getting these little fruits at the bottom and add a colon throughs, continue on like that. And these are important because they are going to indicate a kind of shadowed performing on that left side here coming down. So pop them in and we can start drawing this window here and that rot and saw it, it kind of bit of this white section that comes out here. And we've got a window that stretches downwards. So we should offer around it here. I'm just going to start measuring to see where this days beginning. It's almost half way so similar to the other one. I start off, ran about here. And then they just carry on downwards essentially like this. And hear that. Yeah, just another step at the bottom there. And then we've got, of course, this area with this retaining wall or something here. Shrubs and grasses and things like that, which I'm going to just quickly drawing with the pen like this. And we do have these little posts and things to the side. So just sort of draw them in. If they overlap with this days or anything, just go over the top end. Don't worry too much. We're just trying to getting an impression of this and continue on down that sort of finishes about halfway here. That we've got a couple of, couple more of these posts that sort of finish off here. And like that. Then. And I started getting a little fence or what have you. There's a door here as well. Scalar frame is st. Juan right here. Get that frame in. That. Oops. And I came in a little bit of just hatching that section. Then I don't want to do it. And there's also a window here behind which I'm going to get in like that and pop that in like that. And it's actually quite dark behind this section. And I'm going to leave the watercolors to just getting mostly shadows and things like that. I don't want to color too much of the stuffing, the pen. Okay, So that's a little window there. We've got the front part here. We've got a bit of shade, just getting a few of these little sort of Emacs and the shades like that. That doesn't have to be much. Okay? And then go ahead and draw that top part. Emphasized that top part more. We've got some more windows here. So I'm going to get these, this stuff just mocking out the bottom parts of some of these windows. So these ones, so to end a little bit lower down in that one top part of the window. It is kind of around it here. And we'll start drawing it in. This one is probably the easiest one. There's no shade on there. And just focusing more on the frames here, just again, some details for the frames and bottom part, there is good. And we'll just start off here, just pop in that top section like that. Then we've got sort of a shade that pops out like that and casts a shadow actually over the entire we know, and over to the left-hand side. And again, we'd be doing this, a lot of this with the watercolors office. So essentially we just planning out at the moment where we want those bits and pieces of the shade to go. So tiny bit of shading there. And here we got the same sort of thing, little bit of the side part of it. And then we're gonna go popping these little bits and pieces down the bottom like that. And a tiny little marks there. And popping that window. Remember this one finishes a little bit higher up and you don't have to make it finish higher up. You can make it finish wherever at the end of the day. That's that one, essentially done. And then we've got this section, he is interesting kind of. These should probably should be a little bit lower. So I can actually extend this downwards a bit like this as well. So just to match up with this one here, sort of finishes around here, we've got these sort of lines. Running upwards like that. Let me sort of three pillar like kind of shapes. And then we're going to go up the triangle part of it finishes just above the top there. Okay, like that. A bit more detail on that part. And there's also a section of a kind of what it is part of the building connects on like here and move section at the top there. That is part kinda coming out the side there, but that's essentially the top of the building. There are little bits of detail linework in the rooftop as well. So a turn the brush starts in the pen on the side like this to get kind of broken line running through some of these areas and lighter. What I'll do is I'll go through with the smaller nib pen to draw out little bits of tiles and things like that. Okay? So these ones are pretty much, pretty much done. Now, what I wanna do here is I actually went to getting a person kind of walking through the front. So I think what I'll do is just start drawing in the person to begin with, because to make them come, come to the front, you're going to need to start drawing them first and then draw around them with the buildings later. So started drawing a person here. It's just going to start blending in with everything else, but still possible. It's just the style that on. But I wish to sort of go with. And so I'm just going to go ahead and we'll make the person read about here. The heads are sticking out. So always start with the headfirst like that with a bit of a lane and I want to just getting the back, the shoulder like that and can getting a foot kind of coming to the front there, another foot and leg coming to the back. Like that. There we go. Just it's almost as if that person's walking towards this building like that. It's not. So nothing too serious. So just a person there and I think this will give me an opportunity to get a shadow in to the left-hand side as well. We might even want to get a person coming across here and just walking in the opposite direction like this. So that's another interesting thing that you can do with your drawings, adding a figure and it always just looks a bit more interesting. Person might have a bag or something, the bag they carrying with them and kind of going in opposite sort of directions like that. And around them, this is what I mean. We're going to stop drawing this retaining wall which kind of cuts in between here like that. And start off with this building. And I'm going to go ahead with the blue shade again, I'll do like starting off in this area, It's easy to judge where it should fall according to the other ones. So be it a little bit of detail of it. And dropped a line like that. K. Just a bit of this on the side like that. Then. And it's getting this section, he should probably go a bit higher. So I'm just going to extend it out a bit more than that. Then comes off that side of the building. Okay. Then we're going to split this section into kind of a roundabout. Here's where the status dots. So we've got the wall and then it sort of goes up and it's just below the halfway point where the stairs finish. And we've got the door here like that. So notice how I'm just using pre-existing shapes in there to judge where to put everything else. And that's why it's so important to get the initial house and the initial shapes and correctly because that's going to form the basis of everything else. Okay. So a bit of detail. There is a number or something here on the house. This could be a mailbox or something. There is a little killer here in blue kind of pillow and getting the BUT Assad of it like that. And another side of it here, excuse me, another section of it then and line work going up with slight that got a window here. Now I can just stop putting that in. Like that. Line work for the frames. Okay, And the stairs, they sort of come down and interesting sort of man, are they sort of just come down like this on a bit of an angle and it's going to be very hard to tell anyway because we've got this figure sort of standing in front, but I'm going to just preserve that. Get these larger step here in the front, especially that and the rest of it, there's just a lot of these kind of fence actually that just permeates and that comes through the back-end like that. And they're just sort of separates off as a bit of a shrub or something here as well. Tree here we can just get in a bit of a shape for a tree or shrub and you can change things around. I'm actually making these a bit bigger than they are. I just wanted to get a bit more of that shrub in. And we've got a window here as well. Kind of it's around the same position. Is that one not any higher or lower? So when I got in a little bit of that section there like that top part there. And you know, even, even here on top, you can go start off popping in this section. So easy again, we just got this already, that line that's carried on. So we can just continue on with that line and stopped with the sections of the windows will go away. One here, we've got one, random it here, and then we've got a smaller one here that these windows don't have any shades on them. So I'm going to just leave them pretty basic like this. They're just carry on and bring that down for all these windows like this. Okay? And then, and bottom here like that. This section here, It's a bit of a, a, a condition at depth here. Just basic thing is a satellite dish to interesting kind of can barely see it. Just popped in an indication of that. And then on top, we are going to follow along with the same little sections here at the top. Couple, couple, one here, that kind of finish ofs and 12, one to innovate here. I get the general shape of the mean. And she finishes off. I've drawn these little bit to further down, so I'm just going to extend these up a little bit like this, and this little triangles extend them further up. So this part of the building is probably little bit too high, but it doesn't matter. You get the end of the day. You can just alter the shapes, create them how you wish. Make certain areas bigger or smaller if you make mistakes when you are under or overestimate it. Airs. Don't just go over things like Ogden, he does continue to try to fix things up. We'll just go over the top and you'd be completely fine. So there's this interesting kind of crisscross patently, uh, which kind of goes through this window. I'm gonna see if I can just getting the beauty of indication here of this. I don't know what a days but then this little pattern. So we can just do that crisscross, it's a bit of cross hatching. And from here we can do things like coloring. Some sections of it like this, just to get in a little bit of a pattern here. And no, it's not, it's not time to Orpheus. But and it seems like a very little, very small detail. But things like these actually create more interest tiny bits of detail in an area of looseness. So just coloring, coloring like a chessboard and just skipping a square here and there. Like that. Okay? So remember we've got here The Fantastic, So just a bit of that little technique that you can use. And we're going to just pop in the rooftop of this building quickly and getting this section here of the end. And I wanted to, it's just again a separator that building. But if a pipe or something there as well, there is part of a separated here. Now the kind of building which I'm going to just really quickly getting here towards this side, these two side buildings, which essentially help frame and draw attention to the rest of the drawing. So popular beneath that, that is the toe. This finishes a bit kind of rant here. And can I'm just going to getting a bit of that rough line work coming in on the side. Putting a window here, example, just a quick indication to another window here. That's it. And it'll be this fence then like that. Okay. I'm might use this opportunity to actually draw and more of these tree in a lodge in this tree could be off to the side here and maybe turning into a second tree here as well. With these okay. Another bush, something here this side. Okay, I don't want to overdo it. But that's essentially what we've got for the drawing. 22. Washington DC: First Wash: Okay, so we're gonna get started with the painting for this one now. And essentially what I want to do is get a really light wash over the entire painting. So firstly, I want to go into these buildings when I add in some colors. And actually in the reference photo, the colors are a bit muted, especially in this side has some nice sort of blue here, which I really want to get in. It's a kind of surrealism blue. So mixed up a little bit of this onto my palette. Over here, clean it off a little bit today. And I will just mixing up a nice sort of cerulean blue, just a very light wash of it. I would say it's about a t kind of consistency. I'm going to go in and test that out. Okay, So just pop that strike on the paper and using a number 10 round brush here. Okay? And now what I'll do is 0. So getting a bit of that window. But it's essentially just do little bit of cutting around in some parts of the building just to get in the sort of law to areas of the windows, things like that. So pop that in. Fees. Cut around that little what do you call it? Little satellite dish and popping a bit of color here. And I'm just going around very, very loosely. Just careful enough so that I leave enough white in there. But essentially just going through and adding some of that blue for the buildings. And I'm gonna do the same kind of up haha, tiny bit up there. And I'm going to mix in a little bit of burnt sienna, tiny bit of that so that I can just drop that into the roof of bits. Just one day to be people brown in there from Carla so that it's not all kind of blue all the way across. And it's sort of acts as a way to warm up that section as well. So it's just not all the cool color running through, so just moving down now. So I'm going to go ahead and essentially just paint these bidding like this. Aside around the window. There's a figure here in the foreground. I'm going to just go straight underneath here and dropping a bit of that blue around the windows and stuff like that. Probably getting a bit of that window here as well, just like this. Notice I do have some other colors mixed in here as well. The blue is kind of mixed in a little bit with some of the other sort of burnt sienna, which is fine. Just let it do its thing. And it actually makes it look a bit more interesting anyhow, so that should be k. Maybe a little bit of kind of a grayish color. I'm just sort of picking up some light wash of gray that sound left over from the palette. And just dropping that in sort of in areas here just to mix around, create some areas of interests them sort of don't want to leave too much white on there as well. And I'm going to drop in that gray over here on that left-hand side. Well, everything is essentially still wet. Okay, so we've got a bit of mixing going on between the two viewings. I know it looks a bit funny because we're, you know, if you see we want to create some nice contrast here, but having it mixed in is also going to create a lot more interest and just make it look a bit more softer so we don't have a sharp edge with the colors. All of a sudden stop and stops. So that's kinda dot. I'm going to pick up a little bit of green. This is just a tiny bit of sap green, okay, Very lot mixture and I'm going to drop that in the bottom, like this. Okay, around that figure. Probably going to get these ones in here, the side as well. So just drop that in. But as sap green over here underneath this building, keeping it pretty light there. Underneath where we've got a bit of these stairs and stuff like that. I'm just going to grab that down a bit like this. Okay. Just meet that color down as we go to the bottom. But I do want that to have like a nice green color off the top like that. Another thing I want to do is just sort of soft enough a bit of that edge here. And let it. To blend a bit up up there. Okay. And I think I'll probably add in a bit of wash afterwards as well to soften up that whole area. So here we've just got this other building and we can pick other colors as well. I actually want to use a kind of burnt sienna on this one with a bit of red mixed in there. So they drop that in and have a go at that and see how it appears. So interesting or bad. It's not dark enough. Just pick up a bit more. We still want to keep this wash very nice and fresh, not too dark at all. It's going to look a lot better if we do, do it this way. Lot more interesting. So essentially this is just a warmer color that I'm allowing to mix through and going through to the roof here even you can even add in a bit of little bit of gray up the top. Just let your water colors mix around and do its thing. Just creates this beautiful mixture through there that he can't get. Normally. Just does its thing. So dropping bits and pieces like that, it helps also to add some more interests. Guy and that bit of tree down the bottom, it's already still wet, so we're getting a bit of a tiny bit of bleeding through the bottom of that tree. But down the bottom here is adding a little bit of coolness underneath the shades. There, just a little tiny bit of blue mixed in with the burnt sienna just to cool it down little under them wherever size that more later on anyway, back to that burnt sienna. I'm going to drop that in here for these bits and pieces there the stairs. Now we can even put in some yellow ocher in here too, like this. Okay. Oh, just mixes together nicely. Drop bits and pieces in. If you've got tiny areas and stuff like that, we can just drop in a little bit of color. Notice this area, I just want to dirty it up a little bit. Popping a bit of color through there like that. And let that kind of mix through. Moving on to this one on the right now. So we've got cool, warm, and I think we'll go to something that's a little bit more brighter. So I might go, we start off with some yellow ocher first, I'm going to drop that in maybe with some Naples yellow and let's see what this turns out looking like. I don't want it to be too overwhelming, but I do want to brighter sort of building human that right-hand side. There's just a lot more, just a lot more brighter, I suppose, warmer in color. So going through, it's dropping some color in here. A bit more yellow ocher as we move down to the steps and things here. I'm just adding a bit of coolness underneath here. Okay, just the top of this section like that, right? And the trees, of course, Let's get in some little bit of the screen just a sap green like that. And it can also drop in some other kinds of greens here too. This is a darker sort of green. On that side. It's kind of an emerald green. And then I've mixed in some sap green in here as well, like that. Just drop that in and so wet in wet sort of work. So it doesn't have to be perfect. In fact, it looks better if it's not perfect. So we haven't just a bit of other kind of greens, darker greens coming through and I think sort of near the base would be nicer two of these trees and sort of right about here. Okay. Let's have a look. We haven't done the roof of this building yet. I'm going to drop in a bit of gray here to just meet. So down from the top section, really don't want it too dark. Just light wash though. You start getting a very dark wash would be mixed up too much paint, just lift off or mix it around the page so that it blends better. Okay, Just getting this side of the roof here of this building on the right, while putting a bit of coolness. In that building as well down the bottom here, doesn't really matter. Okay, It's all the way over to the side, the chimneys. Let's pop in a bit of burnt sienna here. Tiny bit of burnt sienna. This one as well. That in like that. The other ones we don't have to worry about all too much. And even these little shades we can sort of get in color in there like that. Little strokes that may dry. It better. Just suggestive work. That's all k. So really the last thing we wanna do now is just through the sky and I'm mixing up some slowly in blue here on the palette. And let's drop that striding normally out. Also use something like a flat brush to help cut around this area a bit better. So I could just do this kind of thing, creating kind of a dark sky. And then especially where the roof finishes, there is a bit of a white mark section of the roof, so I can just leave a bit of white there as well. Some parts you can get it to mix together. As you can see, some positives would have joined on a nice That's okay. Let it do its thing. Like that. Creates some soft edges. I haven't actually defined the borders of the page you see it doesn't matter. It doesn't really matter. I'll just have a bit of looseness coming up there into the sky. They're suggestive work. Okay. Maybe coming down the side here we can maybe getting a few little marks like that. Hey, Sang He just to blend kids some almost like texture of the building colonised, something like that. Let's just want a flat wash essentially for the sky. Down the bottom. I'm going to drop in a bit of yellow article. Lot of Washington yellow or RCA. To just add a bit of body down there, maybe some Naples yellow as well, down the bottom, that k. And we'll leave this off to drawing a comeback in the second wash. 23. Washington DC: Shadows: Okay, and now that everything's drive, what we're gonna do is start, essentially is working on the shadows and the darker regions of the painting to bring everything together. And it's the final part of just bringing together everything. And what I'm gonna do first is actually haven't put any color on these figures. And I want to just drop in a tiny bit of spirulina in blue here for this figure. Here, just, just a light wash of that. And to begin with, and the other one here we can probably just getting with that kind of a grayish, cool, grayish kinda column like that. I think that should be. Okay. Alright. But what we're gonna do is we're going to go and emphasize some of the shatters, the main shadows we got here, uh, things like underneath these Shay here, there's a bit of darkness here, underneath here. This one as well. So we've got some trees and then shadows coming to the rod of that tree is also underneath the figures. So emphasize all of that stuff first. So there are round brush, a number 6 round brush, and I've also got another six flat brush. And over here what I'm gonna do is, um, basically just going to pick up a little bit of neutral tint. And I'm going to mix this around with a bit of glue. So we can get this kind of red in there as well to get a kind of purplish color. And I'm going to use this to get in a darker shadows underneath here. Let's go ahead and drop that in. Just checking if that's dark enough. It's probably needs to be a little darker like this. And I'm just going to go in and dark and straight under this area. I'm going to leave the little pause here because they sort of signify and air that's in the light. So it's going to leave that in the rest of it. I'm going to just get his kind of new area of dot missing that. Okay. We did darkness here. Maybe some shadows here on the ground as well, being caused by that that wall. There is even a tiny little breaks and things here don't really need to put those in. I can actually get them in with the brush, small pin off the widths. So going in and let's go ahead and add in a bit of a shadow. So there's actually the sod here that comes down. I'm going to make sure this is dark enough as well. Color doesn't matter so much more as the darkness, all that just needs to make sense. So it comes out, we've got this sort of section that cuts across these window, comes back here and just come straight down like that. Forms as shops fluid a shadow on the wall. And here it's sort of an air just underneath where it's DACA. And in here, just a bit of darkness in here. We've also got some darkness on the steps from the trees and shrubs, that kinda thing here on that right-hand side. So if going back in there and just emphasizing some little shadows and things just being caused by the little shrubs and trees, that kinda thing. Put a bit of tiny bit of color onto the trees and areas just to dark and dark and down some sections of it create another layer of detail onto the trees. More so on the left-hand side of some of these, these areas, we want to leave some lighter areas of the tree too, but just more little bit of darkness on some left portions sort of like here. That kind of thing can even dark and off around this side. A bit more darkness. So going back in and just mixing up some more of this dark color here, I'm thinking where else can we get in a bit more darkness? And I think he is probably just going to dock in it again because I feel like it's too just a bit to live actually. So another layer would be nice. It's best to do it in the first go, but sometimes it just depends if you've underestimated it. Go back and editing and You'll be completely fun. K, Let me give it a shadow that, and have a look at this one. There's some shadows underneath the shades here. So you just pop in a bit of sort of these patent underneath like that. That's a shadow like that. And then we can go into this one here. Same kind of pattern. Okay? The sun kinda coming from the top right-hand corner. Okay? And then the shutter patents on the ground is so important you've got to make sure you do this well, the fingers as well. You know, you've got things he has such as these, a chimney top and having a bit of that darkness on that left-hand side is super important. Kinda just stretches out onto the rooftop there. Then we've got little more here on that left-hand side as well of these little structures. I don't know what they are, but pots of the townhouse. And here's, well, the shadow to that left-hand side, here and behind here. Underneath the spirit of the roof building, I mean, just is a little shadow here as well known as docs. And we can actually solve them that often just and innovative went up through there, even underneath the window sills and these little frames and you can pop in a little bit of darkness underneath as well, like that. I think here we want to get into a bit of darkness. I get that shadow shape in and just drop it in like this and kind of go across to me this dots are here, finishes here. And essentially just creates the shadow underneath like that. Even comes across the ends of that sought of the other building, which is a k. We'll see how that looks and join them all up like that. And we've actually got a shadow that just comes across here as well. Forgot to get this one. It's smooth, comes off the side edge and cuts over these building, comes down and disappears behind that section there like that. So it kind of takes care of these pot. Join that on there. Great little bit of shadow here and that lifts on the chimney may be a bit here. Really at this point, we're just looking at things to finish it off. The shadows underneath these figures and getting a bit more darkness on the legs here. Whoops, too much. Bring that across like this. And he's the other figure kind of walking in that direction. So I helped in a little bit of color there. Like that. That this might be just a bit of shadow cast that side, maybe here as well. Just finding ways to put in some bits and pieces in here. Tiny bit of perspective, perspective lines in areas which I kind of drawing with the pen a bit earlier, but going through and reworking that section a bit, these plots and things, you can always just go back and again, add in a bit more detail in them. And like what I'm doing here, just a bit of darkness in some areas to bring out some shadows and mid tones onto the shrubs. But remember, always leaving some of the warmer. Lots of colors on column. The whole thing. You have to have a range of tones in there, otherwise it doesn't work. So that's what I'm doing. Go back in e, we can add in a bit of blue in here, even a bit of blue mixed with the grain to dock and document down a bit, especially near the branches and down the bottom sections as well where I got a bit more darkness in there, say, adds a little bit of volume into this section. One thing I want to do, we can just dry off this brush a bit, pick up the paint, dry off the brush. And we can get in some little dry brush strokes across the building. Buildings, just some of the areas I'm just checking. Get the brush really dry so that it just glides over the pipe up and leave some of these little broken lines like this. Okay, and this helps to, again imply texture on the buildings. Just reminded me of forgotten this shadow for this little satellite dish quickly. And that's really so many shatters that you can add in. I mean, just even underneath here. And the windows. Little sections like that. Move this kinda dry brush technique. You turn the brush on the side as well and you can get some little marks like that in the pipeline. It works well on the roofs, especially to indicate some texture for the tiles, that kind of thing. Running through the top. And move it in red for the heads of these figures. And I'll call this one finished. 24. Class Project: For the class project, refer to each demonstration video and sketch two or more of the featured landscapes and pen. You can also refer to the drawing and tracing templates which simplify the data was to basic lines and elements. Practicing drawing is an important step in improving your painting skills. This provides you with an opportunity to compose and plan your painting. Once you've finished drawing, use the watercolor steps and processes included in this class to complete your painting. If you finish the six landscapes featured in this class, pick a rosy free photograph or perhaps one of your own landscape photographs. Then, using the techniques and processes 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.