Impressionism - Paint this Paris Scene in oil or acrylic

1. Paris Street Scene 0 Intro: Hi there, I'm Christopher Clark and welcome to my painting course, impressionism, painting with light. Were together. We'll paint this beautiful Paris street scene. And we'll talk about a lot of different concepts ranging from the idea of impressionism all the way through specific techniques, elements that are used to paint the piece. I've been a professional artist for many years and teaching, painting instructor. So I hope I can impart some of my knowledge through to you through that and just doing a painting and talking about all the concepts. So we're learning by doing. It's a fun day painting. So regarding impressionism, it's my favorite era of artwork, the late 18 hundreds in general. But I love impressionism because it was very much a rebellion against the salon, Paris painting, you know, sort of time where you had to be very, very crisp with your details and very polished with your brush work. And it had to be smooth as glass. And the subject matter was usually very Roman and Greek mythological heroes and religious themes and historical kinda staff. And I think that was a little trite. It was kinda fun when people could break off and just do landscape or just random people or a moment in time. Or, you know, I should have just a little experience. They sort of going out of the studio, going outdoors and painting light the way it fell on grass and people in water. And they, they mentioned that the paint tube really helped with that, of course, because you could actually take a portable studio out with you and actually paint on location. And it really changed. It changed the way artists we're looking at, at painting. It was more spontaneous and more, I think had more energy in colors vibrating against each other that were, that were left on blended deliberately. And they would practice painting different times of day, the same subject Monet did that all the time. You paint Haystacks and he did, would go out there and set up even more than one easel painting a haystack while it was sunny. And then when the clouds cover the sun, he random trees, other result and would paint what that looked like. Oh, we're an overcast day, so we had to easels going at once. You know, that kind of thing was, was, had never happened before. And even the term Impressionism began as a scathing review by a critic of Monet's piece impression and Impression Sunrise. And he almost paraphrasing, I should actually memorize the quote some Tae he, he said that it had about as much allure as wallpaper in its infancy design stages. So pretty terrible review. But he was laughing at the Impressionists based on Monet's Impression painting. And, but they embrace the term and ran with it and it kind of became a whole movement that's influenced art for the last, you know, a 150 years. So I just love the freedom of brushwork and the idea of painting light, the way light falls on things, rather than trying to just paint an object itself, you know, to see colors vibrating together. Kind of a cool approach to painting. Rather than painting every little blade of grass and every little, you know, eyelash on somebody who you're really started to group things together and you see things in a more abstract manner, which is how we actually do see the world. So anyway, as far as the specific concepts we're going to talk about, there's five main painting categories that everything fits into. Technically. They are drawing values, color, edges, and texture. So the first one, drawing, that is how something is constructed and the way it's put together and the way we can indicate that on a flat two-dimensional surface. In the case of a cityscape or a landscape, it's linear perspective. Things getting smaller as they get further away from you. If it's a figure, it's learning anatomy and figure drawing and gesture and that kinda thing. So drawing is construction and how things are put together. The next one would be value, that is how light or how dark something is and the range in between those. So you have your super dark value paintings with maybe just a few nice highlights. You'll have some very light value paintings with some, you know, some dark highlights. And sometimes you have a nice full range in any painting. And also you'll learn how to group those values together into large, big shapes to help your painting makes sense. Rather than scattered million different values all over the place. So value is very important. The next one would be color. Those are Hughes and temperatures. Colored generals, pretty self-explanatory. The three primaries, yellow, red, and blue. And I'll explain how we can use those to help better understand and mixed color temperatures like a warm and cool to very general term, but it's kind of useful to direct. Sometimes we're were going like this painting is a nice warm at pink, red in the middle two are more cooler, sort of violet around the edges. So that kind of concept can help, you know, steer your, your thought in one general direction. And then more specific color ideas about mixing that we'll get into as you're doing the painting. Edges, it will be how colors, shapes fit together. I was used this example. Where is it would've been? So like my orange shirt. There is a sharp edge between my orange shirt and the blue of the chair behind me. So those are two colors, shapes that fit together. So you can make those a nice sharp edge or you can soften them so it's maybe appears more around sharper edges. We'll come forward in the painting. They break that grabbed attention. They make focal points happen. More softer edges make things look more round or distant or not important. They can also guide the eye around the painting. So edges are very, very critical to helping make a painting look more finished, more intentional. When you even use acrylic, your edges tend to be a lot harder all the time because your paint dries and you can't go back and manipulate them later. Where's oil paint? You can soften and edge later if you'd like to maybe open up a little bridge between two areas like things like that. We'll talk about it and I do talk about using acrylic paint during the process too, in case that's what you're using. I prefer oil, but I do mention some differences with acrylic as well. The last concept is texture. Texture can be the texture of your subject itself. Like if you're painting an animal with feathers or for, or something, there's a fairy feathery texture or you're painting hair texture of hair flowing. Or if you're painting gritty brick and sidewalk and asphalt, that kind of, you know, those physical textures of your subject that you're trying to portray. Or it's the texture of the paint and the surface of your painting itself. You can have a nice smooth, glossy texture of the paint or thick blobs of paint or gritty, scratchy parts on your painting. So all these different variations can give some fun textures to the painting itself. So there's the five concepts that we're going to use. So that being said, we're going to jump into a charcoal drawing, which is a study of drawing and values. To keep things as simple as possible. There's no color, it's just black and white. You can play with some edges also. Texture, I'm going to worry about it just charcoal on paper, but you'll start to see, even see some of those concepts there too. So with that, we're going to set up our charcoal stuff and get started there. So I'll see you guys back in a second. 2. Paris Street Scene 1 charcoal under2GB: Okay, and we're here set up with our charcoal and our paper. I just got a regular sketchbook paper here. Fairly smooth surface. Nothing special for this. From my materials, I just gotta stick of charcoal. This is Vine or willow charcoal. Very different than compressed charcoal in the pencil form. This stuff will erase almost entirely back down to the paper and behaves very much like paint. Which is why it's a really great way to do this preliminary study that we're doing. Needed rubber eraser. You can sort of mash it into any shape. Really, really useful. This is what we, and it doesn't leave the eraser poop all over your paper like a regular like pink eraser does. And then as regular fan brush we use sometimes to smooth things out. So what we can do is sort of map out a general size. This is like, I don't know what size, nine by 12 sort of paper. So that this study is designed to be a little smaller than r, r painting so we can not have to spend a lot of time on it. So basically what this is going to be is studying value and drawing. Drawing and value, whichever order you want to put them in. Now, Here's what we're gonna do with this. We're going to group our painting into three values. Starting with the darkest dark that our material can make. In this case, it's this fairly dark gray black of this charcoal Allen's paper. The next value will be sort of amid about a 50%. Sort of really get that nice. So you can see it's about halfway between the darkest dark we can get, and then the lightest light, which is the light of the paper, this color paper, It's as light as we can get. You know, you can number them however you want. We can number them like this for now. Basically we're going to simplify this really complicated drawing into three main values and group them together into large pieces. To help us better understand this piece and make it more simple for, for the viewer. And a nice, easy way to start. So we can see what we're doing. This is actually kind of a fun little trick. You can take. You can, you can measure this and you want to be. 3. Paris Street Scene 2 underpainting under2GB: Okay, we're back with our canvas and our palate setup here. I've just got a 16 by 20, say's canvas here. You can use whatever closest size you'd like. I've got a glass palette here setup. I've got three colors. We're gonna do a very minimal color palette for this under painting. So we went from black and white for our charcoal sketch. We're still gonna do a little bit of drawing and values, but now adding a little bit of colors and temperature. I've got them arranged here with spaces where I'm gonna put other colors later. It'll make more sense when it's more full. But for right now I've got just yellow ochre, Alizarin crimson and ultramarine blue. So I've got a yellow, a blue, and a red. So three primary colors. That's a great way to start an underpinning. I've got some odorless mineral spirits in a civil coil jar. Here. It's like a jar with a metal coil inside to help wash your brushes. If you're doing this with acrylic, of course, using water for this part, which is fine. I'll sort of explain some of the differences between acrylic and oil during this process. First we're gonna do is just get a little bit of I got an old crummy trip brush here from Home Depot or something. This is a 2-inch. I've got a couple of those different sizes and I've got a couple smaller, you know, I'm sorry, softer brushes is going to be whatever synthetic soft brush that you'd like. I was a software brush can help with some of the stuff here. So you get a little mineral spirits. I'm just dipping it in my, my thing here just a tiny bit, then that'll be total soup. But now what we're going to start with a general motif of color here. It's kind of a purpley orangeish at this spot here. And we're going to pick about where the lightest sort of intense colors and it's about their Woolmark in our little grade later if I don't need it for this, this is still pretty approximate. So get a little mineral spirits on. I just, you know, sort of a wet ish quality. And I'm working from this bottom gonna work outward, gradually changing the color as I do. Starts kind of orange. And it's gonna get a little more purple as it gets further away. So I'm going to use when I got here. So this is our number two value. Let me lock this down. Sometimes I forget how rickety my my old easel here, me and Pablo. I've been through a lot together. Might easels name as pablo. Ok, so as we get further away, we're going to use less of a yellow. And a little more of the Alizarin will do is this still touch yellow and a touch of the ultramarine blue. I mean, just a touch more mineral spirits. You don't need to dump the whole brush in your mineral spirits. Or you're really just gauge it depending on how it's, how it's working when you're doing it or your water if you're doing acrylic. I definitely want a little more purple now. And even, I'm even moving my mixture closer to these colors. I keep the mixtures close to the areas from which I got that. So now it's a little more purple. This image has that gray color palette that I love. And then I found a lot of resonates. Well, well people, there's orange to purple. That seems to really strike people Well. So I like it. And I've been doing it more often. So now that I've got this purpley color, I don't want to come back into this section and keep painting their Communist going to ruined my nice gradient. This is this nice orangey color, a fades, do more purple color. You don't just absentmindedly switch the brush all over the whole canvas. You doing it intentionally. Right now I'm just going to fill in all the crevices of the canvas. Nothing too precise. Again, trying to keep this below C, this is going to really help make this sense of light on my painting. Ok, so now I've got a nice sort of motif here. Let's mark in our little grid. So you can start placing things, use whatever color you have here so you can measure this. But right now it really just going to eyeball it to save time because it's not hard. It's an easy grids and do half here, half and the middle, half, up and down, half here. And you can, you can eyeball it and then check yourself with a ruler. Check yourself before you wreck yourself and see how close you are. You know, it's good practice. So there's about our grid. I don't need to draw a line. I can see that with my mind, but that'll help me place things that's too dark for what I want for this line, so I'll wipe it off. I got some paper towels over here and do that. So here we go. We're going to, we just did this and the charcoal number. So I'm gonna do are large shapes. Here. This building comes down like that. This one comes down to about there. I'm ignoring those poles, those light poles for now. We will say that whole thing is that one shape that comes down to about, maybe it's a little lower. We can choose what out again later. Right about the middle of that one cut across. There. Comes out like that. Maybe a little further over and you see I'm squinting still even some, sometimes that just helps you even remove some details so you can see the big shapes. Whereas the shape, as you know, we did this as one shape last time. Let's do that consistently. That'll be helpful. So I'm just going to simplify this whole thing into one sort of shape. I can, I can get more specific later. There's our two shapes. So now let's make this our nice darker value. I can start, even here. I can use less mineral spirits now because there's always a, but already a bunch of mineral spirits on the pallet on the canvas here. So I don't, you'd need to use nearly as much now. It won't be near this r. And if you put too much, you can actually scrape a little bit off with the brush by just pushing this way. I just wanted a little darker. And here it's already getting a little more purple. Little more purple. It gets quite blue actually. And I love this minimal color palette is really helpful. Because number one, it's, you want to keep your underpinning pretty simple. You have this, this isn't really, this is about setting up the values and enlarge pieces and sort of establishing your large shapes. Touch more bitter mineral spirits. Not too much. But yeah, keeping your underpinning with a very simple color palette is really helpful. Because your ear, you're slowly adding on more complicated things. We're doing this. We're doing the charcoal drawing all over again except with a little bit of color, a little bit of color. If you get a full pallet, try and do this right now is too much. It's almost distracting. And also, when you have a minimal color palette, you can't make a bad color. All your colors will be holding, right? They will all harmonize nicely. I could do the whole painting with this color palette. I maybe just add white for some, for some lighter values. But I can do the whole thing and that's very minimal color valid. I will only add a few more colors just so we can get some more subtle nuances, specific colors in there. I'm just smoothing it out a little bit. So here's our general our dark shape for the city. Now what I can do, that's I'm just, you know, sometimes you have to stop and look. I'm just eyeballing to see how I liked this. You know, we're, we're, we're doing a large percentage of the painting right now just in setting this stuff up. And now I can maybe put, do a little more, little more paint and do a little more value on some of these darker spots. I'm not using really any mineral spirits much anymore. Okay, that's pretty good. Let's find our grid again and let's note our vanishing points so that we can, because we need to be more specific now, it's a little bigger piece and we're actually want to be a little more accurate. So let's find our grid again. We can just eyeball half. That one's still there. The half, half and the center is still kind of there. We can put it there. Now let's find our perspective line one that's the crucial one for the moment. It's about there. Maybe a little higher than the horizons, actually about halfway between here and here. So it's about a quarter of the way up the painting. So it's about there. And it's a little yeah. About right there. A good way to indicate, I think a vanishing point is put an x. That kinda means like to me, it's like linear perspective lines sort of converging at that spot. And you can mark it. This is just a little tiny brush with very thin paint. It'll get covered up later. So don't worry about that. So there's our, our vanishing point for now that that'll help us. I'm going to go ahead and use my sort of softer brush. This is a big fat. I don't know the sizes, the size 12, flat. I like flat shaped brushes because I can do square marks or thin lines or all kinds of stuff. So now let's, this one has nothing. I'm just gonna put it in a little bit of mineral spirits just to kinda wake it up. Just so it's not totally bone dry. I don't want a ton on there, not even wipe it off on a towel. So now let's get, you know, I might add some more later, but I'm just kinda gauge. May make some nice dark. So let's do some of our darker. So maybe I need more paint and less mineral spirits. You still don't want a ton of paint right now. Because the thicker your paint is early on, the harder it is to add details on top of it. So I'm actually deliberately letting the paint run out, letting the brush run out of paint, and painting a little lighter and lighter as I get toward this spot. Some already doing some sort of aerial perspective there. This is some of our darkest areas. So and I like, I like this sort of abstract quality of the brushwork. And you'll get better with your nuanced sort of qualities there. There's a nice dark spot here. We figured all this out earlier. Good thing. Because now we can just lamb right in and where we're right. I'm going to just eyeball this woman. There's this really dark balcony and like right here and that's kind of a nice landmark. Comes up to about there. And under like you can do with your brush like X2 pair it is. That's a good landmark. And in general, this is all, honestly, I almost want to make this the squint your eyes. It's pretty dark. I can add a couple of light details in this dark field and it will look great. You can do a line like that and just sort of like, you know, I'll get more precise with this in a second. Ok. Maybe I can find these two buildings that separate right about there. This one is a touch darker. I can make that other one litre here in a bit. Maybe I can do that same thing again here. It's nice to do this with a softer brush. If I did this with the harder bristle brush, it might actually scrape away more paint because it's it's really wet right now. If you're doing acrylic, you still kinda gotta be careful at this stage because the painting, that the paint dries really quickly, but it's still hasn't cured yet, so it's wet enough or you could accidentally peel it away. So you still gotta be careful even if you're doing acrylic at this stage, it's kind of a critical drying stage of the piece. Okay. Now, let's take our eraser, which in this case, you can, you can do this with oil or if you do it quickly, you can still do this with acrylic, with water, we can take a paper towel or a little wedge of a paper towel or, you know, and sort of put it over our finger and there's our eraser. We dip it in mineral spirits or your water. And now let's come in here. Sometimes you've gotta do a little elbow grease to scrub it because the paint gets into Canvas a little bit. But we're going to start erasing. And again, it's a dirty, I gotta find a clean spot just like the eraser, dividend year, mineral spirits or your whatever you're using. And you can start erasing painful. Now we're doing this for a couple of different reasons. I'd like to do a little more deliberate brushstroke, but sometimes it just doesn't come off nicely. So you gotta kinda just scrub it a little bit. That's okay. We do actual paint with an actual brush, will be a little more precise and deliberate with each stroke. We do this for a couple of reasons. One because pain is translucent. And if you're trying to paint a really bright, nice light spot on the painting, a light source like the sky. And you're painting it over a dark or muddy area. The light will pass through your bright light paint and it will get this dark, muddy area and it will kill the light. Because light is refracting through your painting like a prism. So we have to allow that light to have something to work through. If you're light passes through your nice bright white paint and then hits the white of the canvas and comes back to you. It'll keep that area looking really bright and luminous. If you try to put some white here, you're gonna light value paint. And this area, it'll pass through the light value paint, hit this dark purple and it all kind of muddy up the light as it comes through. And also when we're painting that you'll see little bits of the under painting poking through your paint that you put on there. So we're setting up our brightest parts of the painting to really have a light foundation so that some of those lights can poke through and it'll still, this will never be as bright, luminous because you'll see bits of purple and stuff. This over here will already look brighter and more luminous because the foundation is a lighter, brighter red. And here it's a lighter, brighter orange. You know, it's kind of you're setting yourself up for that, that depth of colour. Here we can serve as hard to carve out some of the details of this building. This is a tough one because there's all these weird little chimneys and where we'll say there's that, that cuts across like that. And when I have a brush, a little more of a precise tool and some pain, I can cart he's in a little better, but it's nice to start now, sort of has three bits to it. And if your, if your paper towel gets too dirty or it becomes turns into patters, just get a new one. You don't need to use the same one for the whole time, is a separation there. And then there's the separation here. And this is a little bit of a chimney right here, which I like. I don't want to put this, I'm gonna try to keep it the same value as the stuff that I've already done. It's kinda comes up to a little bit of a point, little more of an angle. I mean, There's a couple that's here. Let's do that part now. So not only am I lightening the value of this guy, I'm also carving out some of the details of buildings and stuff here. So heres. And then there's the alpha and see that's, that's actually way easier and looks way more powerful and assertive when you do one big shape and carves smaller shapes out of it. Nice. So this looks a lot like our charcoal sketch still, but now with some fun, vibrant color. Okay. These cars, I might do a little bit of that just to sort of find them. But I'm not gonna get too specific yet. For some reason I like this. There's like a minivan or low, and they didn't have minivans in Paris. Then let's take a little hatchback. And it's about right. The roof is like were there. And then there's a car there. I sometimes I try to find that the cars that stand out to me the most when there's a ton of them. And I can use them as landmarks right here. Here's another one. And it's kinda funny. And if you notice, if you look real close at the picture, you can't see it in the video window. You'll need to look at the one I included in the course. And here's just, you know, it's going to be a few there. There's sort of this motorcycle guy, it's about right here. And then about right here you kinda see hid my gam but just as top half, like the motorcycle disappeared, my friend took this photo and I think he might have done some editing to it. And maybe he took to photos and added them together. Maybe it was like what do you call it? Forget the time when you when you take two photos and let the Let the camera blend the two values together. I will think of a term later. But I think the camera might have taken two different photos and blended the two and left out this motorcycles bottom half, but he appears twice. It's a weird little thing I kind of thought was funny. It almost looks like a headlight, but it's actually this motorcycle guys Headlight which just has had voting. They're kinda, kinda random. So fun little quirk about this photo. And, and here. Here, this detail and this skyline is this other building that's right here. I'm just going to indicate it. Now. With that, just so I can see. And then here's this other this detail is this separation of this building, which I'm going to indicate. I kinda want to actually leave it a little darker here because I'm going to add the light color on top of it. Rather than painting at all lightened painting, I'll leave it as it is and we'll play with it. Okay, so lets do this. I can help myself with a little bit of perspective line. Got my trusty old ruler. Do or just a little bit, some on there. And the main, where there's a balcony right here, that's kind of a main one. So let's put that right there. That's a little thick. It's like that. It's it's a bit of a kind of even sticks out a little bit. There's this sort of bit of windows up here. Say didn't lighten those up. Let's see if maybe I needed to know that's fine. As a shadow sort of underneath those. Yeah, that's good. More's on this building. There's sort of the lowest balcony. It's about like there. And you know, this, this isn't like for historical accuracy. You can move some of these things. If, if they're not where you want them more fan up in a slightly different place. And who cares? What's nice about a cityscape is it's not like a portrait where if you're off by a millimeter, it looks ridiculous. It looks wrong, but I'll change hands so you guys can see what I'm doing. Here's this big giant chunk of a balcony. Where's my halfway point? It's about there. So there's one spot nine can get more specific. Let's say I was off a little bit before and that's alright. And yes, I do use both hands when I'm paying. Very useful. Just takes a little bit of practice. I really encourage people to play around with that idea. So, so useful. And not as hard as you would think. You get, you get pretty good at it pretty quick with just some practice. See here. I'm glad I checked that out. Sometimes you can do too is take a brush that's clean. Clean off your brush. My Bob, Most of them material on it. And then come in here and I can actually use this to draw like now. Because you just get that and you just need to carve that away a little bit. According to my perspective line, that's a little better. So now it's starting to resemble a fun Paris scene. I might indicate that poll a little bit here. So I can say I can keep doing this. I've got my clean brush and I just cleaned off. It's got a little bit of mineral spirits on it. I can sort of use that carve into this to make this line a little more crisp. And I can take a little pain. Touch that up, that comes up little higher. Ok, let's see here. Another great landmark. I'm going to use the same brush again was this sort of sidewalk right here. See, haven't carving away. Your acrylic paint might be to try to do this. So you can still just use your paper towel you make. The longer it dries, you might get a give it a little bit of elbow grease. That's fine. I could even have done that for these, you know, use your your smaller brush to do some of these finer detail areas. Yes, one more car in there, that's fine. Now. It's a little taller to g per something. Okay? So this, OK. Now let's find just a couple of these are second vanishing point is still on the same horizon. That doesn't change because it's still on the same flat plane of the earth. And all the buildings are standing upright. That's all parallel. They're all perfectly up. None of the buildings were crooked. That would change everything. That would change the laws of physics here. Buildings could do that. So this second vanishing points about there make it a little x there. So I know that that's managing point number two. That starts with these buildings here. So let's say about their hires this longer one, I got my brush. Can a car a little bit like that. Maybe there's one about, about there. Now this is really for just drawing purposes, is one there and there's a second one that's like right there. I know if I'm making the value lighter, that's not that big of a deal. I can add light painting to that. It'll still work great. It's not like making this sky. That's really important. This is really for drawing. I'm marking it so that I can see the drawing later. And then there one there, one there. And notice like these, there's this other one that's parallel with this one. It's about there somewhere. And that's pretty good for now. Let's try to see if I can use this same regression as you get, cleaned it off again. So now here's where it's thicker. Bristle brush might actually be better because I could scrub blow harder. That's okay. That's light enough to get a nice bright light value. I might just gently indicate the light pole there. That light pole is to the left of our vanishing points, it right there of our first vanishing point. My vertical lines always tend to be a little crooked toward the left. Think my brain is tilted like two degrees to the left. So I'm always careful of that. So I do a little bit, a little bit of the line at a time. And I'm always checking my light. You can use your paint brush, whatever, stand back. And it's about if, if you don't know where something is, rather than just drawing it in, it's in the wrong place. Just put a little poke LAN and look at it and see if it's right. And you can gradually expand on that poke and turn it into this shape and you can move it, you can adjust it a little bit to the left, a little bit to the right. That's a great way to eyeball and place something that's good enough for now. These next ones will be less important to indicate because I'll just, they're just smaller details about their seeds. Like, Ooh, Is that it? Maybe it's a little smaller. This next one's thank you there. And then a couple is a couple of small ones already has a sense of diminishing into the distance. That's because of linear perspective and aerial perspective. This area, these buildings are lighter than buildings that are here. That might be sufficient for an under painting. Again, sometimes you just need to look and stare and like hmm, is this right? Get up, have a mirror behind you. Go get up and look in your mirror. And look in the mirror at the painting. And it'll, it'll flip it horizontally and that'll indicate missing mistakes or let you see it differently and, you know, give you a fresh sort of look at it. Really, really helpful. Pull out your phone and take a picture with it on your phone and look at it on your phone. It's like looking at it in a mirror. It doesn't flip it horizontally, although you might be able to do that in your editing for AP wherever you got. But even just looking at it, looking at it through your phone gives you a different sort of look like, Oh, I didn't notice that before until now, it's just going to look differently. It's, it's an interesting phenomenon, but it helps get up and take a break what we're going to, well, let's say that this call is done. In a second. We'll get up and take a break. You know, stretch out. That's really important to get a drink, whatever, and then come back and you'll notice things and then we can proceed. You know, you'll see somebody who I gotta check that, I gotta fix that. You know, you don't know what to do. So a little bonus real quick on how to clean your palate and clean your brushes because I've always surprised, I'm going to, my students did not know how to do that because no one teaches you. You can take a palette knife. I like the Bob Ross palette knife. Cr our paint. And if you'd noticed, I should've been more specific about this when I was taking color, I'm taking it from the base of my color pile, not directly on top. If you take it from the base, I won't accidentally contaminate my clean color with whatever's on the brush that keeps your colours cleaner. So you can keep using them without mix them and getting them full of other colors. And then when I clean them up, I can just scrape away this base of those other colors, wipe him off on a paper towel. And I can clean away the dirty paint. And now I've still got a clean pile of paint there that I can use to do the same thing with this. Am I lit my lizard has got a little bit of blue and stuff in it. Clean, scraped out away from the base. This is why I like a glass palette, because I can very easily cleaned up to, I'm going to scrape away the paint from the base of that. And I can scrape this pain away. And now I've got this nice clean pile of ultramarine blue because I wasn't dabbing the brush on top of it. You can take a scraper like this, any Geebo scraper Like from Home Depot or something. And you can just scraped, clean all this stuff up. If you're using acrylic, you can spray it down with some water, spray the whole palette down with water. I was I would recommend a glass palette even for acrylic. I do still think with acrylic or certain things. And I use a glass palette, spritz it down with water, let it sit there for 30 seconds. It'll loosen write-up. And you can scrape it up and then take whatever your medium is. Just dip a paper towel and just come clean it off a little better. So that's how to clean up your paint and clean up your cow that way. Now we've got a nice clean mixing area. Notice I put all my paint around the edges so we can mix in the middle. That's really important to give yourself a nice clean spot to mix in. So now your brush, here's my little cleaning silicone oil thing. Take a rush. You just sort of dip it in there and you serve as measured around. You know, I'm working the brush into those little coils. You also might have one of these. This is very common. These similar thing, just a container with a thing at the bottom with little holes to work the bristles through so that it gets inside the bristles and breaks the paint up and stuff. So you dip it and you do that. You do it a few times. It might still have some paint on it. We really get in there and then if you're like me, I have a wall off to the side. I can just fling it clean. You don't have that luxury. Stake a paper towel. And you can put it in here and you can squeeze out the mineral spirits and the pain. Sometimes if your if your brush has all kinds of paint still on it, you're like, oh, I don't want to dip this. You know, you're going to turn your, your medium into sludge real quick. You can take and squeeze off all the extra paint on the brush. First. Do that a couple of times and then you can wash it. That'll make your your cleaning medium last a little longer before it turns into total sludge. So that's another sort of helpful tip. And then if this gets too murky, just clean it and replace it with some new on it because otherwise you're for this first round usually able to clean all your underpinning brushes just fine. But let's say as we continue with the painting, I'm going to replace this with some clean mineral spirits. Because eventually you're cleaning your brushes with thin paint. So much paint in here, it's like mud and you're not cleaning your brushes at all, your body making them dirtier. So I will change this before I continue. I haven't cleaned paper towels around here. So you can just take it and squeeze it dry and get all this stuff out. And now this is a clean brush. Okay. So that's it for the under painting. Take a break, take a stretch. I'll put all my other colors out and will continue with the next stage of the painting, which is actually adding more thick paint to our nice little underpinning here. So see you guys back in a second. 4. Paris Street Scene 3 Block in under2GB: Okay, we're back and we've got our more extended color palette setup. Although through all these. And you can see the holes I filled in where the original colors work. We've got titanium, white, CAD lemon, You can use cad yellow also lately I've been kind of favoring the more, the more bluish version of the, of the yellows. And we got yellow ochre still there. I've got cadmium orange, got transparent Brown oxide, transparent red oxide, cadmium red medium. There are Alizarin crimson still there. I've got I use Egyptian violet and the brand of paint that I'm using, Williamsburg brand oil paint. Although you can use dioxazine purple, it's close to the same thing. And then our ultramarine blue and then a fellow green. So nice full palette will, you know, will use more of that, you know, sort of the blueish reddish ones for this piece, but these other ones are there for mixing and for some other extra subtleties, you know, Gotye brushes out. I'm starting with some larger ones to start with. And these are a size six and they're flat. I liked the long flat sort of shape, as I mentioned earlier. And we're gonna do a traditional sort of landscape approach to this. We're going to go back to front, meaning the furthest things we're gonna paint first, like the sky and the clouds don't work our way forward in the landscape, doing buildings and cars and such. So we'll get started with the sky, which has a lovely sort of whitish, yellowish color to it for the most part. C, mix a couple colors and then I scoop up the paint like a little shovel and then come up here and I just like lay it down. One brushed her up at a time. Boom, boom. I'm going to paint over for the most part these little lights that I had made. Not too worried about those at all. Now I want to pay to over just a little bit past these shapes that I've outlined. So that when I come back later and I do the other shape on top, they'll kinda, the paint will kind of smooshed together. I don't want to gap in-between the two paints, you know. So this, let's see this yellow, Really, really bright sky. And then there's a little bit of it kinda. Rather than changing, I'm going to use the same brush for a lot of this. I'm going to sort of carve out where this is another sort of bit of cloud here. I've sort of just indicating where that is. Say can paint over it a little bit. I know where it is. And it's, it's kinda fun to paint back and forth across the same shape. It kinda helps give it a fun edge. Let's say this cloud pattern. And I'm sort of editing the pattern how I want it. Like large shape. And the shapes get smaller and smaller as they get further away. So even the clouds we see, we see linear perspective. This gets, oops. And most dug into that way too much into the yellow. They're nice, right? Sky. Again, paint over that just a little bit. Now for his details that p as a painting this is, you'd be surprised at how much we can simplify it. It's almost like you simplify until the very end. And you add this to a few clever details and suddenly it looks like a very detailed scene. You kinda keep that. That root's up until the very end. Don't be afraid to use a lot of paint here. Because as you can see, the canvas grabs a lot of it and it suddenly it's gone off your brush. You know. Let's see. Now this yellow as it fades into this other sort of section here. Almost, almost has a touch of green in it. It's the brightest whitest. This particular sky is because as I got like a late sunset kind of sky and it gets almost this yellow glow around as it transitions into the clouds. And I can fill this in and add some subtleties later if I want. And again, see there's a little tiny bits of the canvas poking through where I had done my mind that nice, lovely sort of orangeish peach under painting. Let's say here is this little bit of a yellowish glow. And there's almost a maybe a whisper of blue to make it a little bit of green. Yeah, it's almost, almost Green. Those little tiny subtleties of, of color choices can really make a lot in your painting. You don't want to just slap on bright yellows and bright oranges. And the sky has a lot of subtleties in it. And if you can catch those subtleties, it'll look a lot more realistic. Do a little more yellow. There's a couple of outbreaks and the cloud there. I'm noticing right here, there's a little bit of a sort of separation of buildings there. So now's your chance to carve those out a little further. And I was even as I'm like adding a little bit of blue, I'm pushing this as a new color. This was the yellow and white. This is yellow is a little bit of blue and white. So it's like I'm moving it toward these colors and I'll move around my, I'll mix the colors close to their little piles there. As I, as I continue, you'll notice that it's really helpful just to keep your palate organized. So you know earlier colors are going to pay a little further. Here. Now, I'm wondering if I might use, I might use a different brush here just because I've got a handful of brushes here, this is my other hand. So I've got the one I was using. I might do a second brush. That's going to be this orange, more of the sky. And I can go back and forth between these two brushes and add and subtract. So I might do that. And I've got a bunch of the same sizes so I can use more if I need them. And notice this brush isn't exactly crisp anymore. It's kinda old and crummy. That's okay. This sum of this big, larger, cloudy sort of stuff. I don't need anything precise, so I don't mind having, you know, sometimes I want a little less precise brush for some of this stuff. So I saved them. Don't ever throw brush away. You'd be surprised at what you can do with an old crummy brush that you don't want to subject your nice new clean brushes too. So let's do a little bit of orange. Down here. Maybe I'll do just to sort of whisper of a line. Like a far away one. C they get, they get far, they get smaller as they're getting further away from us toward the horizon. So even Clouds are subject to linear perspective because there's just something we're seeing from where we're standing and they appear to get smaller. It's a little too brown. Okay, so a little less of the orange and we want a little more blue and red. So here's something interesting about color. I studied with an artist named Casey bar or casey bow. If you've seen this name and dot-dot-dot, perhaps it is, it is ball. I checked with him. And he explained color and a very, very cool way. Like this. Your colors are either yellow, red, or blue. And then you've got any variation among those colors. And you consider each color you're mixing, how much yellow, how much read and how much blue is in each color. Color temperatures are certainly there and they do exist. They can be a little misleading though they're a little vague by themselves. They're great. As a general term. Like here are all my warm colors. Might yellow, yellow, ochre, orange, transparent, Bradley Brown's. These are my warm on my Red's warm colors, my cool, those are at my purples, blues, greens, those are my cool colors. But in general, that's, it's still kind of a vague term. Temperature. You know, if I want to go cooler. Oh, cooler this way or cooler this way or warmer like it it's it's kinda hard when you're like trying to mix colors with those things in mind. So what's more accurate is thinking about how much like this is pure yellow. This is yellow with a little bit of red in it. This is transparent. Red oxide is a very dark red that actually has a lot of yellow to very dark orangey kind of Alizarin crimson as a read that actually has a bit of blue in it because it really kinda lens toward the purples. Let's say dioxazine, purple. It's kind of a mix between blue and red. And then here you get ultramarine blue, which is a very sort of, you know, it's blue with a little bit more red in it. Yeah. And here's Thaler green, which is a blue with a bit of yellow in it. So you kinda think, how much more do I need to add? How much more yellow Do I need to add? And much more blue do I need to add? And it really is very clear where it can push you around this colour wheel. And also that you just got to think about the value, how light or how dark is this color that I'm working on? And that's it. It is so much more simple than trying to think about only in terms of temperature. Think about it only in temperature. It's too vague. So this seems to be a little more lighter and a little less blue, little more just sort of read. That's even still a little too blue. But the value is right and scooping up big hunks of color and laying them down here. And as I get over here, it's going to become more and more blue and more leaning toward blue and less red. Whereas here it's like less blue and more yellow. So this, this gradation, that's one thing that really helps indicate light as having a fade that's very consistent. Let's say it gets, looks like it gets a little lighter and maybe it revisits some of this. This is, this is still part of this yellow bit down here, I think. Just a little bit. And again, don't be afraid to use a lot of paint. Paint looks good and it all smashes on top of each other. I'm kinda, I'm using the same brush and I'm pretty much not moving to drastically around the painting. I'm staying pretty much in the same spot. I'm not going to take the same brush that has a lot of blue in it now and come over here and dad around in the yellow and it's going to muddy the whole thing up. This color here is very different than this color here, because this is more yellow, red, this is more blue, red. Some gradually working my way across the painting. That's how I look at my, at my color mixture. Started here yellow and a little orange. I had a little red and I'm adding a little more blue. I'm gradually. Pushing over. And so I've got this color gradation even on my palate. So I can help find those colors. It helps me keep them more clear in my mind. The more organized they are on your palate, the better. So eventually I'm gonna have to start making some perspective decisions here, like measuring against my vanishing points, which are still here. There's the main one for the close buildings. Here's the one for the further away buildings. That was a little too much right there. That's okay. You can always push it away. So now we've got suddenly at this beautiful sunset happening, really, really lovely With some whites and yellows and oranges and fading to some more purples over here. And we're keeping it. This is still, you can squint your eyes. It's still our light value that this is the lightest value of the whole piece. This is R one sky shape. That's got a couple interruptions, couple things sticking into it. But in general it's the same one shape. Now, let's take, let's start here. We're already going to start moving. I'm going to keep this brush and case. I gotta come back in with some sky. I'm gonna wipe off a little bit of the paint if I want to. Let's say if I do want to use this nice light brush for some of this yellow stuff, I can just take it and squeeze out a lot of the paint. And then I can just come in here and and mixed back into some of my more yellow colors. So we've got all this paints we'd now I can use this as my sky brush. We'll hang on to that. I've got, oh, I got to my super bright one, My Cloud one. And then here I'm gonna use this one to start doing some of this city. So I've got, I'm collecting brushes. Like if I was an artist at Kung Fu movie would be fist full of brushes. And don't forget to hydrate. Your always hydrate. Okay. So now I'm going to treat ladies buildings as if they are one solid shape. Because they are, we're gonna, we're gonna think of it like that. That's get sum. So this is another, again, not super refined brush. It's kinda crummy, but we'll see if it still works for what I'm doing here. This is going to be more of this sort of orangeish, distant, but it's a little darker. I'm going to add just a touch of blue to this to to neutralize the color, make it a little more grey. Try that. There's some subtle details here which I might need a more refined Rush said and come in here and it's motion as, as sharper than edge as I want. Further away stuff might have some softer edges. Are going to use my lighter rush here and I can come in carbon. But occasionally I want a sharp one just to indicate a specific detail or something. But in general, your sharp edges bring your eye closer. See like right now I'm going to soften some of these on purpose so that it fades back further. Put a little more sky. There. May be some of these. I just wanted a little bit of a fun little architectural details. And that actually is a slanted roof, some kind. That's one thing that's really great about oil paint is it's still wet and I can come back and smush some edges here and there. And can make things look for real, for real far away, further away than they were before by just softening an edge. You know, I'm not gonna do this. I'm going to treat this side of the buildings as another piece. Right now we're doing this side. This is all one piece. So we're going to continue with that. Oops. And then just really just dig in there and grab some paint. And you'll get better at how much to grab for each little mixture here. And that's sort of hard to tell what's going on there. I'm going to blend right through those, those buildings and treat them as if it's one facade. We're gonna get a little darker. We're still kind of hovering in this sort of orangeish reddish with a touch of blue as way too dark, way too soon. Sometimes you just kinda poke it in. Psych is at the right color. Let's check. There's a little bit of an interruption on here with those slanted rooftops. But I'm not going to worry about those just yet. I'm kind of just this is called a block in. I'm just really thrown down paint. As a place to start. I'm painting over my perspective lines a little bit, but I can still see them. They're still there. To squint at your subject and see how it all comes together in one piece. And a big hunk of paint. So you keep having to remix and I'm getting a little darker every time. Not drastically, very subtly. There's going to be some nice bright, sort of orangeish yellow highlights. On the side of those buildings that will really bring that to life. And I am going a little clip here because of course this is just an instructional video. I don't want to take, you know, a week to paint this thing. Could do it in a couple hours. And then you can take as long as you like. Okay, now I can start getting a little darker because now this building is kinda turning a corner. And I want it to be a little darker, not too much. C. I'm trying to treat this as one sort of hunk of a building. And we've been losing that the edge of the sharp turn. I don't necessarily want a sharp turn there, at least not now, once I blocked it and maybe I'll change mine. Which there's plenty of room to do that in painting. So now if I do all these blues and verbals and red is going to get too strong, too saturated. Second, add a touch of, let's say orange ticket to neutralize it. Basically, whatever colors you add, it's going to pull you towards that side of the color wheel, which means that I got all these purples and I add yellow. It's going to pull me to about the middle like in between the two of them and which will be more neutral. Remember the color wheel when you were a kid. That's what we're using right now to paint with. Its very helpful. Save Lehman, please. Who D, If you're enjoying the French language, like I have been recently. Let's get a punch more. Paint. Here's this other fun little chimney thing. Say I can put a generally where that is and then I can carve into it later. This might even be a little taller. We're panning Paris, so of course we should speak French once in awhile. And say went in Paris too as the Persians do. Let me, nobody actually says that but they should. And again, see how I'm getting the paint and collecting it from the side of the brush, not like directly on top of the paint pile. I mean, getting it from the side instead of squashing right on top, I don't want to contaminate my nice clean paint with some other random color. And here's the edge of that building. I mean, that comes up a little higher. Sometimes I can smush that paint. Smush is a very good keyword for, for painting. I use it a lot. And I want this to be a little lighter than this dark, which is going to be a little wider than this dark. So they're gradually moving forward and getting a little darker as they move closer to us in the landscape. Just to fill in this. This is a little more of a pink color. I also don't want this thing to be totally pink. I wanted to have some little orange equality to. I don't want to be like a total rose pink color. It's to garish and I just would look weird and not accurate. So here is the side of this building. And again, one brush stroke at a time can almost count 1234567. You can see my brush strokes. And if you want, if you want to thin your paint out a little bit, you can use a little bit of medium. I like to use this stuff. You can, if you're using oil paint, you can use straight out linseed oil, which I've got right here. I particularly like this Gamblin solvent free fluid. It's safflower oil plus an alkyne medium that helps make it dry a little faster. I put it in a fun little bottles so it's easier to get at. Squeeze a little bit on your palette will puddle. This will also tell you real quick if your palate is even or it's tilted. And you can mix a little bit, just a little bit to thin your paint out a little bit. If you don't want it necessarily so thick. Scoop it up and it'll cover a little further. Maybe. What I can do here, I like to do this to sort of exaggerate the linear respective. Maybe this gets a little lighter at the bottom. Almost as if it were like some atmosphere or smoke or something. Not smoke more atmosphere. Almost like a mountain range. When you see a mountain range, it's usually darker at the tips and it gets more light toward the bottom because it's kind of atmosphere, you know, maybe I'll do that along the bottom just a little bit. Add a little bit of white, See it's, it's still wet. Second, mix it in there. Kinda adds a fun quality to it. By that ration, I'm gonna wipe off a little bit of that lighter paint. What if I now did the opposite? And just dark and up here a tad here, I'm going to actually get into some specific detail. There's this darker rooftop here. Make it ever, ever so slightly darker, little bit of brown and it and even if my paint colors too dark, if I don't push as hard, it won't darken the canvas as much. C Now there's a little indication of a darker rooftop. Then that actually continues over here. And almost by doing that, by darkening this area, I have lightened other areas. Cause value is relative. Value is whatever is next to it. That's what it's going to sort of reflect. Let's keep doing that. I like that. It's not too dark. It's still kinda bracketed in this little range of value. Let's say there's one here. There's three sort of levels. There's underneath here. There's this one. I'm just going to mark it gently. And then there's this one, like maybe a little lower like that. And if you squint your eyes, you can sort of see this dark ish column of architecture going across here. And it actually gets a little more red as it gets closer to this transition. Here is a little bit of linear perspective. This, this face and this building. It's facing almost right at us. So here's our horizon down here. These horizontal lines will appear to tilt to the right more as they get higher up because there's a vanishing point way off to the right. So this line comes across here, hits this a curve and goes down to this vanishing point, up and then down to that vanishing point. So same thing, this one here a little higher, a little steeper toward that vanishing point. And then down toward the one way over there. Up here comes down toward this vanishing point. And then down says it's turning the corner. This is the highest one. This is the one that's the most angled toward that vanishing point and angles down toward this one. I haven't specified a lot of this yet because we're still just blocking you then. But that's what's happening. So there's a lot of vanishing points in this painting to keep track of. But the more you do perspective and the more you think about this kinda stuff, it'll become more clear. I can even start to just because we're here, indicate a couple. There's like some details of windows here. So I am just sort of smashing n's and pay. I love that word smashing in. Like sometimes I don't necessarily brush, I just smoke. And here's where I maybe I want a little more of a, of a CRISPR brush. I definitely will. When I get closer, these details are a little further away. So this crummy rush is actually helping me make really soft edges. I can't make a hard edge with this brush is it's a piece of junk. So it's actually very useful right now. See I'm almost subtly implying Windows. I don't want to paint every single detail because we wouldn't really see the city like that. I like Impressionism because it paints things more realistically by not painting as many details. That's right there. There's a couple other like trees and things in the way we want do those right now. Okay, we can come back to that later, but see, I've already indicated a whole lot of detail about that facade. And here I will start to do more. And where those meet up or that one meets up. What we'll let's see, I want to do this. Let's continue here. Before I get to detail, I want to block in a little more. That's probably a good idea. And put a touch a medium again, just to thin the paint out. And we're gonna get a little more purpley red hats to garish will add I want and a little darker value. So this transparent oxide Brown is like a dark orange, brown is like a dark orange. So I want to add a little bit of brown to neutralize it a little bit. This will darken the value. This one will lighten the value c, u because one paint is a dark value on pain is a light value. So here's this building, which is this sort of purplish color that I'm a little too dark. I mean, that continues. I'm trying to make this rooftop continuous there. And of course my vertical lines are starting to lean to the left because my brain is like tilted like two degrees to the left for some reason. Maybe we'll get a little lighter at the bottom and a little bit of medium. And here this is where this building has a lighter face facing the sun. Don't wanna indicate that now, Not really because it's more detailed and stuff in there. I'll leave it there for the moment because there is some thing that's happening there. So I'm not sure that line is straight. This one will come out a little bit. Okay, so this building closer is an interesting color. It's a lighter value, but Things that are darker tend to move forward and things that are lighter might tend to push back and recede. So I might make this a little darker than it is, but I liked the fact that it's reflecting some of the light on it from the sun. So I'll wipe off a little bit of this paint. Maybe I'll make it a dark orange. But it's still got to have a little bit of purple quality. Otherwise there's just going to stick out, be weird. Maybe a touch a medium. And I'm going to choose to ignore the windows for the moment. This light comes all the way down here. There's a sign of some kind for an advertisement or something on that. Pull. Here's where I kinda need to make more of my first perspective choices. I've covered up my vanishing point a little bit funny to always put it back in. I can't, so they use the back of my rulers. They don't paint over the numbers. Put one in there. And I need to you need to do this right from the very get-go. Just to make sure that's the right perspective. And I will hit more those later. And up here toward the corner, I might soften some of these edges so that there's no sharp edges like pointing right at the corner of the painting. You don't necessarily want that. I can smush them of those around a little bit and soften them up just a tiny bit. So I don't have like some attention getting sharp edges right there in the corner. That's not what we want to do. That again, a little bit of medium. And we'll make this gets a little darker, a little more purple in the back of the sea. You now here I've got some dark bits poking through. Because for my dark motif sort of was, which is great. And then here it didn't shadow. We don't have a, I don't have a dark brush really. This has been sort of my mid medium midtown brush. Let's see here. Let's do, I think this could be a little lighter. I need to separate these just a little bit. Blend the bottoms of those together. Maybe. We can clearly see a progression of buildings coming toward us. Let's do that. What's the best way to do this? Soon as you to stop and think. Just because I'm teaching doesn't mean I've thought out every single brushstroke of this whole painting. I know I can look at a piece and spend a few minutes looking at it in generally squeezing out some painter generally know where I'm going with it. Listen, I was like, hm. One particular thing I have to stop and think before I just mixed and pain, fling it on there and it's not really what I wanted. I'm painting much faster in these videos than I would normally if I was just on my own doing what I'm doing. Let's do I'll do sort of sorted this ground and the ground. We're almost going to kind of treat it almost like water, like a dull water. It meaning it's going to reflect the colors that are above it. So it'll be this sort of pink, this sort of little more purple, little more purple, little more verbal. And then we'll do that. The car is there, so I wiped off that brush. And I'm going to come back into these more orangey colors. If that's the right color I want. Let's put a little bit medium on it. Yeah, so I might blend this together. And it's going to change pretty quickly here because it's not really a whole lot of space. That's way too dark, too soon. That's maybe to read. I'll go right in the middle. I'm painting through where some of these cars are going to be. They don't be afraid to paint over some of the stuff that you've done, alright, it because you can see where it is. You made it the first time and actually you made it two times, you made it and your charcoal study, and you've made it here. So you should be familiar with where stuff is in your painting now. So don't be afraid to paint through your drawing markings. Definitely gets darker. You're right here. As it like sort of goes into that gutter area. Here's another whole section and we'll do that in a second. I want to finish. Are these cars are see you, you'd be surprised that you, you block in a little bit and you add a few details and bush at all like suddenly does works. And even makes that sound and makes rush. It's, it's amazing it and listen for it. You've gotta be paying attention. It's not, I hate the phrase o just about painted itself. Like no, it didn't. I painted it. But I've done this enough times where and now what I'm doing. And I did, I did a study beforehand or I made some mistakes and I figured some stuff out. And I've studied, and I know about linear perspective. I know about aerial perspective, I know about color theory and color mixing. I've just done hundreds and hundreds of paintings. At the time of recording this video, I'm in the 19 hundreds. And that's not counting studies that's coming finished published pieces that I've shown to clients or sold or whatever made prints up. Okay. And if some noticing, I don't like some of his brushwork it looks like to splotchy. You can scrub it in there with your your brush. You can just smush down. You're not going to tear the canvas system's pretty strong. Do whatever you want, maybe just a little bit to, you know, move around the lit freak out them, those brushstrokes. I've exhausted my three brushes. I'm gonna get a third. I've got another one here. Claim on again, kind of a crummy ONE. These first block ends, maybe I don't need anything really fancy. So let's do a real quick block in of these cars. And then maybe we'll, we'll stop this video and you move on to the next one. I try to keep them under an hour. I think for the darker colors, I really like to use a lot of medium because the darker paints tend to be a little thicker. Maybe. It's a little too, just blatantly purple. Mississippi latent. How rude. So squint your eyes. These cars are one dark shape with some light details on top interruptions and things. And they're gradually going to get more purple and red as they move over to the left as they get further off into the distance. Nice juicy darks. That's how, that's how you know, a painting as really confident. And the artist was really sure of themselves. It's they got juicy darks. But they know how to use them and how to transition. Here. Yes, it gets a little more lighter still I'm See, I'm using this. It's great to disuse. Take advantage of the colors you've already mixed. Answer to fade that often in the distance. And with my dark brush, I'm still going, it's going to soften this edge and make this texture sort of little more blend D. So I want, I'm going to eventually is going to be a more sharp edge details on top of these cars. And then soft transitions into nothing toward the bottom. I think that adds a great sense of atmosphere. Thank him over with gently one brush stroke at a time, even in like smooth and soften and do cool things like that. And that will make more sense once I add some details that will suddenly come together. Let's see if I can take just a couple minutes and do this section up here. And we'll keep that. It'll be still some of these really juicy darks. Notice I don't have black on my palette. I did learn how to paint with the color black using those Arne pilot. But I've since sort of mixing my own black. So here they gotta start pointing these correctly at my vanishing point, which is still right there. Get a little better. Yeah, I think I'd rather paint this whole section dark with a few lighter details. I'll get my ruler out. When I do the more detail for version of this gets a little more red as it gets closer to this, to this guy here. Come back in here with some darks. Dark, with some light. I'm, I'm going to sort of gently going to paint around this vanishing point is so I don't lose it because it's kind of hard to, to match everything up right now. We can always look back at our reference. And finally again, I lost my grid almost entirely. But again, I can re eyeball it and find it again if I need to. So not to worry, you can always refind stuff that you'd lost. There's a nice dark section here with all these just squint your eyes and all those polls and bicycles and who knows, bus stops, it turns into a dark shape. And there it is, done. Maybe here it's not so dark. Just filling and this is really a block. And so it's, we'll get more careful and precise once we start doing more detailed stuff. And here it's further away. So I'm adding a little more suddenly I just grabbed some of those lighter pinky stuff. And we're going to sort of fade this into an all fades into the background and did nothing gives it a nice sense of distance. Okay, that's a great block in it. I can do a little bit of a sharp edge here and there to show the edge of a building. Because maybe this turns away and we don't see behind it, we can see this edge. I'll come in there with my smaller, more precise brushes and I can add some more, more detail later here. So this is a good place, this is a good block in. Did this guy, this guy is probably pretty done. That's pretty simple. Now I can start filling in and be more specific with some of these areas and start tying into our perspective points. And bringing basically out of the abstract will come more form. That's how I like to think about painting a lot. He's begin with an abstract shape that's close to what you're going for. And then use solely chisel away and form sort of evolves out of it. So we'll stop. This will take a break, stand up and stretch. I very much advise that. And we'll come back and we'll start filling in our fun little cityscape here. So I'll see you guys back here in a second. 5. Paris Street Scene 4 Cars and buildings under2GB: Okay, we're back with our parenting. Gonna do some more details now. I've got some smaller brushes. I should clarify a detail. What that really means. Basically, we've now, we've been splitting our painting up into large pieces. And then you split it up into slightly smaller pieces. And you split that up into slightly smaller pieces. That's what a detail is. It's a large space broken up in to some smaller spaces. So you think of it like that, it's a little easier to wrap your brain around. I'm going to work on some of our main characters. Here are some of these cars right in the foreground here. So I'm going to work on some of those, detail them out and then work on them in the distance. And then I'll move around the some of the buildings there. I want some lighter blues and pinks. I think I can I don't know if I need to clear any space yet. We'll see. I'm running out of room. I'll see what happens. I'm going to start, I liked this little hatchback thing here. To me, it's kind of it's an, a place to be maybe considered a focal point. I had before again, before I detail it out too much. I'll indicate that it's without one is there's one right here. Before I get too specific with it. There's one here. And we're just seeing the edge of this car because they're they're overlapping each other because they're sort of in line because it's like traffic. What's going home for the day? Sometimes I can There's a car that directly intersects our middle line here. It's written right. The one that's like floating motorcycle guys is in front of, so I can do that. That's a good landmark. That one there. And then there's this jeep. This one's going to overlap a little more than a picture. That's OK though. So I'm yeah, I'm measuring Before I get C, this one could move over a little bit. This one's a little bit too. Dark brush already. I can push this over. So I've got those cars. This is the side plane of that car. And then they get smaller and less detailed. Let's, let's handle ourselves with occupy ourselves with these ones here first. So I got a car a lot of time is a pretty dark shape with just a few plane changes. And that can save you got another brush. A little too dark for that purpose, maybe I'll do a slightly lighter one. So I've got a brush for behind the car and a brush for the car itself. Almost like a positive space and a negative space. So I can make a mark and that can chisel around it. And here's like a hood. Likelihood it is good but you know what I mean? To the other end of that car. And this kind of fades down. I'll actually, I'll mix a proper colour because that's just being lazy when I'm doing right there. I'm just indicating before I mixed colors and get really detailed as want to make sure I mean, even in the right spot and even doing the right sort of thing here. There's going to be this one doesn't have a headlight on, but I think I'm going to add one because that just gives me more fun stuff to reflect off the ground. It's not going to be a blazing light headlight. So there's funny this. So I want to add a nice bright spot. I didn't wipe any the paint away like it did for here. So I'm trying to add a light, nice bright spot on a dark painted wet area so I can put some bright color on my brush. I can do one stroke. And now I've picked up some of that dark paint. I'm gonna wipe it off. And I can do that again. But a little bit of light paint, but a stroke there and then wipe it off. And that'll be good for now. That's just to indicate that's where I want it to be. I'll come down a little further. But if I just, you know, stroke and stroke and painted in the same spot, I would mix the dark wet paint with my my lighter pain. So I moved over here. I'm kind of out of the face cam, but I'm trying to get over here to the good spot. And the main camera negotiating a lot of cameras is tough when you're painting. There's a little tiny light down here. So you do that. And then I've got dark paint on my brush. I've gotta wipe that off. This is a much more secondary and kind of light. But yeah, so a little CR It looks like a car or I have hardly even done anything. I could go a little higher on this roof. Painting cars. Funny yet, no one likes traffic. And you know, when you're walking around a city or something. But it looks so pretty in a painting. I don't know why. Even my traffic lights, red lights, and stuff. It looks really cool in a painting. When you're in person, you like, I wish it was I wish it was quieter here. But it's just how it works. Little indication of a sideview mirror. The sideview mirror is like the ear of a car. Cars are like, it's like a face, really. Ok, so here's the other side of this carbon. I'm really not going to paint the other side. I'm going to let it know. It's weird. I need to indicate this other one here so I can see why it's why it's not completely visible. I might do these cars less detailed and less bright. So that this one that I've chosen. It's definitely more of a focal point. Squint your eyes and draw the shape that you see. I'm not really thinking as much about the actual object. That is, I'm just trying to draw the shape that I see abstractly. Because that's more how we see things. That's more accurate. Okay. This maybe has a little more arc to the top of it. Okay. It's a funny little hatchback car. Very nice. Could do a little car there. That's actually my way. Darker brush is not what I wanted to. I'm trying to keep this as cool atmosphere that I did back here. I don't want to lose that either. Okay. So I know that car is placed riots I've measured at these other ones. So I can actually go ahead and detail this went out. And we are looking at this. You have a reference here. Don't be afraid to look at it up close. Zoom in nice on it and, and get in there and look at it. And that'll be really helpful. Sorry, using some other colors here, there's a little bit of a hand to this tire. Sliver thin is back at the body. And so that's a little weird plane changes on the car. Now I'm not going to paint the bottom. I'm going to let it fade off into oblivion that I've made. I think it's way more interesting to do it that way. I'm just touching up some of these shapes so that they're more accurate. This one probably curves a little bit more. This way. It's like the back at the tire indicate a little lower then it's coming down. And in general, I want that to be lost. It's even a little much. And we'll see if if I don't like the way it looks, I can change it later. We can almost see a license plate here by simply on the car is like the nose, the headlights are like the eyes. It really is like a face, the front and the back or both, like a face. And then they're very symmetrical as well. So that's helpful and helps us to see how to design it properly. It's a symmetrical box, has a little bit of a glare to it. And do. Let me throw a little bit of some fun glare color. It's pretty subtle. Like right up here. See I can take a little color and sort of flinging it off there. Maybe right here even to and then come back in with my lighter and indicate, there we go. So now I've got a little glow e car action. Maybe there's some subtle little tiny dots of reflection on it. We almost have some blue crab and underbrush. Maybe it's getting some blue from the sky above it. It's pretty dark though. Maybe because this hood isn't exactly completely black. It's actually it's a little bit lighter than you'd think. Maybe we're getting some reflections of buildings and stuff in it. And maybe just before the end of the windshield, it's quite light. So there was a car. I can say all kinds of fun French words now because we're painting France will do a little bit of this one here, since I'm riding on top of it. We'll do a little more of this glow. I sort of mixing hotter, more intense colour with some reds and oranges and stuff. And then I'm using that as a. I just put a blob there. Maybe soften it a little bit the paint around it as all wet and it's very dark, so I don't want to smash it around too much. And then I can come back in with my lighter brush. And do those really specific light reflections on those planes and surfaces there. Right as I go. Top RAM for that. That comes down. Here's a couple windows here. Nice dark for the sideview mirror for this ear. And really is very precise blobs of paint. There's another car indicated suddenly without really doing a whole lot. Here's a rooftop. Here's Hood. This might be a little too far over amortize them getting too close to the edge of the frame here. That's okay. I'm not getting I'm not terribly worried about it. Here's gonna be the bottom plane of that this car. Then I can just do even less. I'm not gonna condense the car to make it fit. I'm just gonna push it off the frame. So you won't see this whole car in the frame. So that was a little too much of an angle. That's okay. I'm re-framing the picture now, recomposing it. And I can even if I want to take a fan brush, soft fan brush, and I can really obscure that car as if it really was not important and it's really out of the picture. I can add just a couple more details to make sure that I do indicate the correctly that it is a car because I don't know if it's quite reading that way yet. Even though it's not, it's like off the frame and it's not important. It is important because it has to read like a detail. Has to read. It belongs in this scene. Otherwise, right. What does that in misshapen, weird blob. Even your mind won't be able to fill in the missing information because there's too much missing information. So let me just spending a few minutes on the car, that doesn't matter so that it reads properly in my picture. And then I can come back with my fan brush and just obscure it, maybe even a little bit this one here. So now it looks like the cars or sort of fading off out of, out of focus or something. Okay, now I'm going to go back, work my way backward. All do some fun reflections on the ground of these later and then they'll read a lot better too. This is my, my lighter brush wiped off a little bit. Okay, now we're gonna do this car right behind our little hatchback here. So there's a top plane, the hood plane like upward, upward facing plane than a car, for sure get more light. Is Hood slopes down a little more. There's another little facet to it. Again, this one has a headlight. So we'll take. Some color here. Do one stroke and I've got dark pain on that. I gotta wipe it off. And we'll do another stroke. I'm sort of making a little glow. Got some dark piano, gotta wipe it off. So I'm adding light paint and removing dark paint. At the same time. I just doubled my productivity. Ride. They should pay me double now. Painting two times as before. Okay. That's enough of that. This car, there's not a whole lot of, a lot of these cars are so foreshortened. That means there. Rather than seeing this side plane as a full side of a car, it's turned away from us so much where it's a fraction of the length that it would normally appear if it was facing, facing us fully. So they call that foreshortening. So the sign of this car is a little sliver because we're only seeing a little tiny bit of it because the car is turned away from us. We're seeing the front much clear, it's blocked by the car in front of it, but the car in front, the plane in front is definitely more of the rectangle we'd expect. A little bit of a side here. Therefore, that sideview mirror, sort of a plane change on the hood. And again, this windshield is not so dark, darker towards the bottom. Maybe a little touch of that fun blue color down here somewhere. That top words slope could be little more sloped. And it's going to have a little bit of some fun glow equals o. Let's make it some random, some orange or something. And boom, one nice bright hit. Wipe off that. It's a dark color that comes off. Maybe I can put a little touch of orange in here even right. Now. Come back in here with my much lighter color and indicate again those really precise light planes. And I'm scooping up the paint and I'm like a little bead of paint on the end of this brush. And I'm using the beat of paint as my point. The bristles priority even touching the canvas. It's just the beat of paint at the very tip that's actually touching the canvas. That's how you can use a decently sharp brush. Not tremendously, but I'm getting some really fine details with it because I'm scooping up a lot of paint. May go a lot of paint CV, you can see that bead of paint at the end there. I'm using that bead of paint, just touching that and that's what's making the actual details on the painting. Sometimes those little tiny reflections on a car helped to show its form a little better. Let's hit this headlight with a little more light and scoop up some paint and just hit it with that bead. And it is a little bit of glow underneath. You can always add more glow later if you need to. Come back in again. It's funny there's really not much detail there. But your mind, your mind knows what a car looks like and it fills in all those details very, very well. So I don't need to hold your hand and hold your hand and show you every single detail of the car. That would make the painting stiff looking and boring and not as much fun. When you leave out a lot of details, you let the viewer or participate in the painting because they fill them in with their mind. So I think it's exciting. We can do a little bit of Tyre. Not much, little bit darker underneath the front of that. Say I love how the bottoms of the cars is fade off into nothing. It looks so mysterious. You don't need to show the bottom. It's totally not important, and the lights are important. The shadows are R4, mystery and obscurity. The light areas are what really show detail. Here's this cheap thing, it's actually a little taller. Let's do that proper. Make it a little taller. Skew my darks might be getting o so subtly not as dark. This comes above this car just a little bit. Let's do that properly. So here I have my darkest darks and they're gonna start to, the darks aren't going to be as dark. Sort of filling in. And the cars get easier as they get further away because there's just fewer details in them. Now if you're looking at the reference, you can see much closer. This weird floating motorcycle guy, I, I really, I was going to considering editing it out for the tutorial here, but it might kind of hilarious. And the the sort of bracketed exposure photograph that happened, I still HDR or something or other. I totally blanking on what those are called. When when your camera does a couple of different exposures to get the most value range out of a painting, out of a photograph. That's what's happening here. And I think that nothing else moved at the traffic wasn't moving but motorcycle guy moved. And so that's why we see him twice and in the camera just like sliced them out the second time. So that that was a funny little quirk. Left it in there. Here's another car. I mean, there's a couple more. You can see us couple. So separations. Here is this ear or the sideview mirror. We're just going to paint through motorcycle guys if he's not there because that would be weird just to paint him that right floating in the middle of space. Here's the side planes are those that car maybe this dark comes down a little further. Actually. I can just grab it and pull it down a little further. Heat my stroke's kinda random. Yeah, that's a little better. Okay. Moving on to the car that's directly behind floating motorcycle guy. You can see it's the same guy. The guy in the distance is the same character. He's just a little closer now. This is an Paris, so he has little scooters everywhere. Okay, so this is the car, and this car kind of intersects our center line there. So that's a nice landmark. So just picture him not their paint right through him. He won't mind. He's riding around on his little scooter. To having a good old time phase. I'm not as a motorcycle and French blanking on that word. Okay. Of sideview mirror will do a little bit of a headlight, changed my paper towels, getting totally paint. And just gotta clean paper towel sort of pin down to the, to the my old table over here. We'll do a headlight up here higher. And somebody is headlights are actually reflecting and the car is behind them and around them. So we'll do some, can do some nice color and size bright value for some little tiny reflections around. See each car gets a little faster because it just further away, it is not much of the car as the as the other parts as the closer ones. I mean. And it's just a little faster. There's a hood that we really can't see, but I'm going to imply, and it's fun as you get further away, you almost get more abstract as several in a row, here, several cars in a row. And there's one lower one right there. And I'm gonna make sure I don't get them too small, too fast. They have to diminish at the proper pace to accord with our vanishing point there. And even eventually, the darks that are in the darkest here, the dark skin, you know, light enough where I almost don't have to put any darks anymore. This sort of washy midtone dark that I put there is the correct dark. Now, I don't have to do anything else. Hears this sort of big truck thing here. Maybe that's so there is a little bit of a dark windshield for this truck thing that's actually carrying over a little for it. It's a big wide guy. And maybe that's even a little taller. And then he would just do a couple indications. You a couple of headlights here and there and some lights and ruse and and it fades off into nothing. And suddenly it's like a whole line of cars in there. Look at that. Have where'd that come from? Dark. You squint your eyes. All the cars are one dark shape that fade darkest here. They get a little lighter as the aerial perspective pushes that dark value a little lighter and a little letter until it completely fades into this background here. You add some details in the right spot and suddenly it all comes to life and looks like a line of cars. So amazing. I can, I'm going to add a couple more of those fun little z lights areas. Maybe they're actually gonna get a little more yellow even because they're getting closer to our orangey area. So it's a really great. You mix your nice bright glow color. Scoop it up, go to where you want the Gulotta happen and dislike. Like fling it and let it fade off. We'll do a couple of those because we've got them and get the color on the brush. And then I can come in with my lighter color brush and properly indicate some of those light planes with a nice blob of paint there. And put a couple. So there's all kinds of fun stuff happening in the distance here. We don't know. That's alright. I don't know what that is. Nothing. Maybe this is front. And all this. Man here. Here we can see a little more of this hood and a little tiny bit of the headlight there and there. Okay. I don't know if I wanna put motorcycle guy in there at all. It's your choice. Let's see what I'm doing here. Time to stop and think for just a quick second. I don't know if he really helps. When you look at the whole thing. And I guess if you really want to, here's what we can do. If you like. He's a fun little detail the story of your, of your seeing here. You can get a dark he's about he needs to match up with the darks that are, that are here, but I don't want to blend it and disappear completely. So we'll make them stick out just a little bit. And we'll put them like here. So a nice about is head. I'm matching up mop horizontally. I'm picking a car horizontally. So let's say this is as tire, go across and find a car, that's that right there. So compare his height to that car. So it needs to be a little taller than that car. And I'm just gonna do kind of a silhouette. I might ignore the headlight for a moment. He comes down. I'm gonna do just as if he were a silhouette. There's sort of a width to the motorcycle. Creates a little wider. And as co-head and subtle how net right there. There's a little bit of a shadow underneath. So I need to make sure that that that tire is a nice crisp shape against this street so that it reads properly. Let's put a little, little sum, sum for this headlight. And it's kind of a fun bit. Where is that? It's like right there. Once we get a little more pink and blue one, I gotta clean this brush because now it's got some dark paint on it. We'll do another one. Take my lighter brush. Put an ice. Now is okay, now there's a motorcycle. Okay, that's kinda cool. That is kind of a fun little detail. There's some subtle indications. I have a little bit of the body of the bike like here. Maybe he's got a little tiny bit of glint on top as helmet. So yeah, that is kind of a fun detail. So that's how you do that. Again, start with one shape. You look at him. He's a little dark silhouette with a bright light in the middle. Well, that's where you start. Little dark silhouette. With a bright light. I think I need a little wider because he's got legs that are sitting. Notice I'm not like drawing his eyelashes and his fingers and toes. And, you know, it's a real abstract simplified version of this, this shape. There we go. Maybe he's shoulders come up a little higher, is really tiny, so it's it's hard to, to detail out. But you know, you look closely, there's nothing there. But you can just glance at that and say, oh yeah, it's a motorcycle and you get a close-knit way. There's nothing there. And I love that game. You know, from far away. It looks like the real thing. But then up-close, it's much more abstract. Take a moment to hydrate as you're contemplating your scene here. Ok. Let's look and think. Now might do something similar. We started with our more complicated detailed characters in the foreground. And then we worked to the back where there's simpler. I might do the same thing. I'll do some more of the more detailed buildings here in the foreground. And we'll work our way backwards where they get more simple and more obscure. I know this is a landscape where we typically do back to front. That's basically because you want to do like sky and then you want to put the building edge on top of that and then you want to put the car edge, you know, sometimes you can think of it like that where you're layering them, which we kinda did to start with. But now we can move around freely. If we're doing like trees and grasses and things that's a little different. You don't want to paint grass and then try to paint a sky around it. You know, an actual landscape might be more very specifically back to front, but a cityscape, we got a little room to maneuver. You know. I'm gonna say this building is going to be our more detailed, interesting building. So let's start there and got my fist full o brushes. Let's, Let's see what we want to start. I can start with a real simple version of this. Sort of lightened orangeish. Actually, I'm going to change your mind. I want to do some of these. There's x and dark balconies and stuff. And I want to kind of indicate first, there's one that's about, let's say here's like the top, the roof. And again, I started thinking about these are all pointing at this vanishing point. Here's a balcony that's like right here. There's one other major balcony that's right on our, our center horizontal line, not the horizon. The center horizontal line of our little grid here, that's what I mean. And then there's this sort of Balcony right here. So I'm finding landmarks. If you're going to help me. These kinda stick out a little bit. Alright, let's, let's indicate some of these. This light plane. I just want to get a bunch of paint. Smush it in there in the right spot. The word of the day is smooth. And it's a little more sort of reddish orange here. And I'm totally not trying to be too precise here. I think that's when it gets kinda boring. I liked it like it's in the exact right spot. But the brushstroke itself can be a little interpretive. Can be a little loose and gestural. Now, I am eyeballing this toward this vanishing point. These balconies see that I've done this enough times where I'm pretty good at that. I don't always get it right. And honestly, if you're off by a little bit, it's not the end of the world, but the closer you are to being really right the better. So they can just check this. So we'll put this here and we'll go boom. And if it goes a little further, your line goes a little further than the actual balcony. That's fine. I guess that I like seeing perspective lines into painting. I think it looks kind of fun. There's two vanishing points out, so that might look a little odd if you carry it all the way down here and then there's new. That might be a little much. I've done a San Francisco piece as well, uh, for a tutorial, you check that one out where it's mainly one vanishing point. And I continue to lines quite a bit and it's kinda fun looking. So let's fill out some more of those underneath those balconies as a nice. Okay. This is a little too dark. This needs to be lighter then this dark because this is a little further back, so I just need to be aware of that. Where are you spatially in the painting? Where is my sort of orange rush? There is some doorways which are actually, you do a little bit of dark the top and sort of let it fade. Sometimes that's enough. Here's another little dark there. You'll get better at this action. I'd like, I want this brush. I want this brush. I want this brush. Like you'll get good at sort of swapping those out real quickly. I got this action going on with my thumb. And you can move them around real quick. You'll get good at that. Whichever hand you're doing it with. Okay, now I can start indicating there's some windows and things on this plane. The plane that's like It's, it's like not completely perpendicular to us. It's like turn just a little bit this way. So let's track some of those. The closer to our horizon, which is actually about this, like a quarter of the painting like here's the halfway point, here's 25%. It's like that's where a horizon is. So the closer they are, the more horizontal those lines will be, the further away they will angle more up and then pointing to our vantage point way over there. Study, study of linear perspective. And you'll actually, if you do it right, you'll be tracking vanishing points like that for reals the whole way down. And it's very, very helpful to actually have known you draw strings and pin them to the wall and all kinds of fun stuff if you want to get serious about it, which you should. So here's one. This next one will be, there might be a little too much already. This next one's a little higher angled wise, and this last ones even higher than that, angled up a little higher. And then here's devise rooftop is even higher. So see that here at, let's say horizon, they slowly angle upward. And I've done this long enough where I can eyeball that and it's probably pretty close. Now these have Windows. Let's say. Here's our balcony. He's are just like full of Windows. What little balconies on them to I'm going to go straight up. The windows usually align upward and do a little medium to if you want. And I'm totally okay if they are not like perfectly crisp, I think kind of having a little not perfectly defined details, I think is more accurate and more fun looking couple windows up there. Here's this. I can finally define this little chimney thing. And there's a couple of little tiny like, little miniature like sort of a network of chimneys coming off the top of the building there. One more window here. And then there's some windows down here that we're going to allow to get lost in this obscurity. Maybe there's even a little sign that comes out here. And that's a I don't I can't read it. I comprise zoom in enough. That's a pretty high res image. 31. I can't read that word in case you wanted to go to whatever this shop is. O. So on the bottom of this, here's another touch, little light. So now here's a building. It one last little tiny bit of a another line coming across there. Oh, I didn't just get that at the wrong angle. That's close. Ok. There is also a little sliver of light here. Yeah, and that's helpful. Okay. So that's our main character. As far as like it's closest to S, it's going to be the most crisp and detailed. We can do a little bit at this one here. Let's get some, this one's gonna be more that I want to use this other brush here that's a little darker, a little more dark, but as a bright orange because like the sun is shining on it. So I'm gonna get out my ruler. I'm under this lower balcony here. Which is about, let's say like right there. Okay, and then here's another one. What we're going to use a little yellow ochre. I wanna keep this kind of purplish because I don't want to stray from this purple motif that I set up over here. This is another important one up here. I'll keep them a little brighter toward the front portion. I've already indicated some of these lighter values. When I blocked it in a nice straight building. Again, I like broken broken lines and things to define. Tendon gets more accurate and more whimsical and interpretive and movement. And there's a lot of fun things happening. And you don't just like draw a perfectly straight line is a little bit at this balcony. The balcony strangely is a little darker because I think it's just got a lot of little shadows on it. Alright, we'll wrap this building up and then we'll do, we'll move on to the next video here. Okay, so I'm gonna go and we'll say there's 123 stories. Here's one. Two will go up like this and keep them aligned vertically, which I have a problem with. Its nice to know your shortcomings. You can always watch out for them. My shortcoming as my brain that's tilted one degree or two degrees to the left. So now I need my perspective line. Let's say the bottoms of these windows here, there's another one there. And there's another one there. The bottoms of these windows, there's I'm winding up. But that one straight up. What? That one's straight up. That one too. There are a couple up here as well. They're getting a little more obscure as they're getting like often the corner, remember, we don't want a lot of details in the corner. I want to kinda wrap the composition. I wanted to come back through here. I don't want these lines pointing right at the corner so I can sort of smush them a little bit to help curb us around. And we can do this. There's sort of a sign right here just for fun. And there's gonna be some little poles we can do all kinds of fun little details and stuff later. Just scatter that some details around the whole piece. You know, there's a little tiny sign coming off a here. So like that, we can add some polls and stuff later. Let's see, maybe I do want to indicate a little bit of looking at my I can look at the camera feed and for me it's almost like looking in a mirror. I can notice things that I might not have noticed. And I can also take this other color and come back and do some clipping strokes. I can clip the sides of these with another stroke. That's what that's called. So I can do the window with one stroke and I can clip around the sides of it with another stroke. Yeah, if I want to just polish it up a little bit, There's like a flag and stuff floating around there. We may or may not do that. So okay, I think that's a good stopping place for this video. Try to keep them under an hour. I'll continue. I'd like to continue some of these kinda poke out a little bit as architectural detail. Okay, so we'll stop and take a stretch. And then we'll come back and we'll continue working our way back through these buildings. And then we'll do this one here and then the ground. And then we'll maybe sprinkle some other details around the whole thing. So okay, cool. Take a break, see you guys back here in a second. 6. Paris Street Scene 5 Buildings and details under2GB: Okay, we're back and i decided we're actually going to work on this side of the buildings here because I want to still utilize this same vanishing point until we're done with it. And then we'll move on to the more distant buildings that use the other vanishing point. So here is some decent dark and need a little more. And my medium, it's pretty dark. Dark. My ruler is a great landmark of all these balconies that whatever this one right here. So I'll do it the other way so you can see it I'm doing lining up with my vanishing point there. I've done this a little bit already, nicely chiseled in there. Let's go the other direction. There's some sort of a dark purplish pink. Maybe with a little bit of, you can do a little bit of yellower colors to neutralize, add just a little bit, and then use it in green yet let's throw some greens in there. Soon as I put the colors on here and I really don't need them. There's no really green in this painting, but it can be a nice mixing color to neutralize things if you need to. Okay, let's say let's start here. Somebody is don't exactly continue all the way. They go a little bit. So we'll do this a little bit there. And although this is tricky, because there's really so many things going on here. We're not really going to see any specific. We're going to see a couple lines basically generally pointing toward our vanishing point here. Maybe just underneath the top of this. I'm going to let a little broken line almost as if it were different windows, but it's following generally the same. And then we'll do just below that is where the stuff you'd be surprised at how little you need to indicate or to look like a big bank of windows and such. I'm eyeballing some of these because they're right next to this murder was I just did. So it's okay. But if you want to be real precise, you can use a ruler for all of them. Definitely won't hurt. So I'm just going to sort of fill in some of these spaces between some of these lines have already drawn. You do a couple of windows here and there. There's a lot of me you look at, squint your eyes and has a lot of sort of dark spots. I can come back in here with my dark. And the like, as I guess shadow underneath each one of these like this, as if we're like a group of balconies or something. And very, very quickly it starts to look like the buildings. Now i'm going to, some of these things are like hanging over a little bit. Here's a bit of a balconies to stick it out right there. I'm using more of the lighter color that almost like because it's like right in front of the sky. And I want to see some of that light bleed over into it. Now I didn't paint the sky far enough over here because I could use my original sky brush here. And I could poke and here are a couple of proper colors. I still got my sort of cloud color brush. I might eat a mix, a little more of that color. Touch in there. Just to get closer. Here we go, that's better. So that's why you save all these brushes that are have paint on them. I typically don't wash brushes a lot because I just have so many that I'm using. And it serves me well to, to have a bunch. You know, I keep reusing them and they have unexpected colors on it because I gradually changing the colors around and staffing and works really well. So get a whole bunch of the same size brushes that you like. I particularly like long flat shape brushes. You might like more round or Filburn. Try different ones and see what you like and use those. You'll never know until you actually try them out. I could use another perspective line. There's some sort of little bit of broken ones here. Maybe you like the tops of these shops and things. They're not all exactly lined up. And then there's there's the bottom where there were the the building to meet the ground. Again, I don't always like to do too much detail on the bottom. I like it to be a little more theory. All we'll see, that's my other vanishing point. I wanted to save that. So I'm gonna kinda gently paint around it a little bit. There's not window's going entire away. Sometimes there seems to be gaffs. There might be like some shutters open and things. There's all kinds of stuff happening here, but really it's this fun play of brushwork. Soon as you can take the brush and hold it overhand. I've been doing a lot of utter an underhand. But you can do the overhand grip and I can scrape the side of the brush along. To do some other different texture and different types of marks. To make it varying. Later, I might even use it some palette knife stuff just for fun. As it gets more distant, it gets a little lighter and a little more obscure. Maybe we can even see. Maybe there's some now that I'm looking at Ivy, some distant lights in the city over here and stuff. I don't know. But that's all we need really to indicate this pile of buildings here. Maybe I'm looking at my thing and we, I could smooth some of these out a little bit. Use the side of the brush, creates a little more of a greedy textures and knows it's fun. They experiment with different ways of holding or even come out this way. There's holding the brush by the overhand grip gives you a lot of options that aren't available when you even hear I'm, I'm, I'm not choking up. Like even doing detail. You might get a little bit, but still it's like an extension of your arm. You know, this is like maybe super fine detail are like sign your name at the end or whatever, but you're still it's like part of your wrist. And sometimes even I'm even back here doing detail like this. So this is long handle. I love long handled brushes because that's it gives you those options and that, that fluid gestural quality to it. And noticing this also has some like maybe some signs coming off of it. Maybe that sine has a little bit of a highlight on it. I'm inventing this. I don't see it on there, but I kinda like the idea that you sort of put a few indications of architectural details here and there. And suddenly it looks like a whole another set of buildings. And looking at it, keep looking over the feed to see what it looks like and I like it. Let's chisel that one a little bit. I can do a little clipping stroke against that side. Maybe another one against that side. Nice. And we can even come add some other lights here and there. Once we're done with this, let's continue these down. I'm just going to drag them down through where there where the bottom might be. As if they're like reflecting onto the ground. Again, I like to do a little bit or like ground as if it's as if it's been raining. I shouldn't be so much of a tongue twister. Ok, here I'll do a little bit of a horizontal indication here and there. That'll help show that this is a ground level. Make sure those are angled. Myosin, horizontal. There might be another perspective thing there and do, but for now we'll keep it simple. In here. Here's this sort of sidewalk that we sort of set aside. I'm angling mine a little more. In the reference. It's a little more straight, but I wanna angle it just a little bit more rather than having it almost straight on. I can turn it. And it's also gonna get wider as it gets closer to us. Again. Because if linear perspective, I'm noticing there's a little bit of a curve. If you want to put that in there, not here discretion. And if it reads, this is sort of a dark quality. Almost like sort of gutter area. Set. It helps put a little more distance. Now in general, we're gonna do some light color marks on some of these areas to indicate some, there's some details and stuff happening here. Maybe here there's a little bit of a of a driveway or something. Is a bicycle park there, like weird little details that this pole, let's think about that poll now. I'd say it might be a little darker. Right here in the foreground. Will touch a medium on it. Take bio ticket is fairly thick and then very quickly as it passes in front of this light, it's gonna get some light diffraction, which means light's gonna sort of bend around it. So it might lighten into more of kind of a red color very quickly, which will help give it, it'll help our little glow. Cause I'm painting over a little bit of light-colored that's from the sky. Not much. I might have to go back and fix this edge a little bit. But I prefer having a slightly broken line to a perfectly perfect straight line. I'm not going to draw this with a ruler. Maybe there's a couple of details in the, here's, this part comes up. Here is our little light sort of fleshing out this shape. I don't mind, that's a little broken. I can come back with a smaller, tighter brush and maybe chisel back some of this stuff nicely. I can go back and forth now. I gotta cloud color brush. I can make that even a lighter. I got my hand really light sky color. And you come back and forth. Tighten that up just a little bit. It's a proper straight line, but it's not so stiff and boring as if I just drew it straight. Now here there's lights aren't turned on. So I might just sort of keep them almost like they're, they're there but they're translucent, you know, put a little light through it. And there's a little bit more. Let's do my sort of reddish color brush a little more of a, an ellipse happening around there. So there's a light pole, a little lighter here still. And you might want to stand back and see where pieces of this that you want to correct. But now it's like it's got a little bit of that movement to it, you know. And if I just said one, Russia all the way down, I'd be kinda boring and kind of straight and be very accurate but kinda boring. So I like playing with that. I guess we can do some of these other light poles. They don't interfere with our back here too much. These are also gonna get a little lighter. There's one that's about here. There's a circle right here that's like a bit of a traffic sign. I think I'm just going to leave that out. I'd rather see the city back here then I would a random traffic sign. Here's a tiny little bit of where that light was that I indicated. So I like I'm just going to keep it there because it was fine. That gives me a place to aim for. That this pole goes slowly sometimes. Now we, I can see the whole thing rather than going all the way up and it's wrong. You go a little bit at a time. Compare it. It's a little higher. Maybe it's a little thicker at the bottom. To indicate gently with a few brushstrokes to thicken it out. And this one's a little smaller. I don't wanna make it too small because I want to be able to still have them diminish and have some place to go with them. I don't wanna get too small yet. Weird, funny shave that comes like that. And here is that say here's that one. Looking at it, I want to chisel off that little section there. And let's maybe say you can see that one a little bit. Let's do that again. That was fun. Here's, here's one. Here's one right above our center line are our center grid line that we did. And that's smaller than this one. And again, it's a little lighter. The pole kinda almost matches up. So I mean, we don't see the pole there. Remember we can well, I'll just barely indicate it. I'll separate them just a little bit. Not much. And then they get a little smaller. And a little smaller now intake right there. So here's another little poll. Cool and now we've got some diminishing See how much distance that adds already, because we're seeing this linear perspective. Here's what, here's what it looks like close up. So now our brain fills in all of those details as it gets further away. And to us, it very much looks like it's shrinking distance. There might be a pullback here then two for this one. Yeah. Okay, cool. So this area's kinda done. Maybe I'll put a couple juicy ones here and there. I don't know if it's on a, you know, try to indicate a bicycle like, you know, you can spend all the time on this you want and indicate all the maybe there's a bite part right here. You can see one tire and you can see that one back there. So, you know, you can you can play with those things. There's a middle of the curb cuts coming out there and the civil driveway. You get a dark enough in there. And we go is like polls and things everywhere. So you play with that and you can get it as detailed as you want or not. So there's our sidewalk. Kinda fun, right? This little black mark is our first vanishing point and I hadn't painted over it yet in case you wonder what that is. And sort of just keep an eye on it. We don't need it yet. But I'm do noticing I do notice an error or I did these cars. There are these rooftops should be diminishing Tor are vanishing point and look where they went, they went out. They need to go actually down toward our horizon. So I just noticing my little error. So these are the distant ones thankfully. So not too hard to fix those down. That's better. Now they go towards the vanishing point properly. So check your work, makes mistakes and you notice things later. That's why you take breaks, you stand up and look at it from a distance and whatever. Okay, let's do fun. Lighter colored details on these buildings. Now we're switching. These are the further buildings. So like these ones close, they are parallel the streets going like this and then the street suddenly turns a little bit of a corner. And that's what we're doing. Awesome. My, my ruler has painted over it and I just gotta move my hands. And I probably just got all in my hair. Fabulous. Sometimes you just gotta clean off your ruler and it gets paint over it. I didn't even notice. And incidentally, I do like to use this stuff before I started painting gloves in a bottle. It's supposed to be to help keep chemicals and things from absorbing into your skin. So I'm hoping that it keeps me from getting cancer for painting and all these chemicals. And so one day, I guess I never really know if it's working. And I won't know until I'm old and haven't gotten cancer yet. So that's been I know. I'll keep you updated. Oh yeah. I was gonna do some of these light, fun, orangey, peachy details. Here's a good one to start with, right next to our center line. That's about right there. There's that one, and then there's one there. Let's, let's point them at our new vanishing point is a couple that come there. They're not exactly aligned because a couple of weird things going on there with some architectural things. This one is actually a much lighter right at the edge of this building here. Great. Let's do that again. There some maybe where so it's right up straight from this one. Do you know about their ish? Yet again, trying to push too hard so I don't want to bend the canvas. And it's gonna make my line straight. And I can do as a couple going on here. And there's also, these seem to be parallel. And I've got a couple of lines indicated. Let's do I want to find the top of this roof? This is our tallest one. So let's find out where that is. Because that's going to be angled like that. That's our tallest roof. And so maybe this one will come over like this. And there'll be a little bit of his little pointy things coming off spires or whatever detail we can put. You can see a little bit at the sky through some of these car this away. Okay. Here's sort of a little. Whenever structure that is c. Now I'm carving away the negative space if some of these objects is a nice bright yellow. For this thing. Is this like slanted roof? Little lighter, white. Who lighter and value can point this properly. Go. So that's a fun plane change. That's really nice and bright pointing right at our sunset. And we see a little more of it on this side of that. And we see that again here. These are parallel, so I make sure I find those. That one is going to be there. Cool. And see I indicate a couple of planes. And suddenly it looks like these buildings are complete. And that's because they're so distant that a lot of the details are obscured by this aerial perspective. They are a little further away, a little lighter, a little closer to the sky. Little more air between us and them. So we don't need as many details. The closer buildings take a little longer to define, the further away they get this Fewer details and eat just like the cars. That's why you spend a few. The I-SPY span a good amount of time on the ones that are really close and they're really important and you can really see them. And the ones that are in the distance. You do a couple of details and it reminds you of the ones that are in the front. And so you've done, you've already explain to your audience, this is what a car looks like. So they see a reminiscent of that. Oh, I remember that. That's what that was and it compares it in and then you're finished. That's great. Let's do a few more of these. This one is about, Sometimes I can find the first bit right there. I'm tracking it there directly underneath these because this is a very perpendicular building, right? Our orange there. See this, this is going to start a little orange. And it's got a turn, a little more yellow as it gets further away. Could maybe even be a little more pink over here. Okay. So I did one. And it'll be easy to follow that one underneath because there's kind of two little lighter and value and this kind of continuous pairs, I'm not going to paint each one of those. Dab the brush to indicate some of those little interruptions. And it gets further away. There we go. A couple of those down there. I'll say I gotta sort of paint around some of those light poles that I made. And there that sort of section is getting complete. I can add it as a couple funnel details up here. Maybe I can invent a few more. That's open like a beautiful pile of distant buildings there. Now I'm going to take up more of my slightly darker brushes. I can indicate some windows and stuff here. This dark can has to be lighter than this dark again because we're moving away. So I just got to make sure I can damp it and see what I think it's a little too dark right now. It's gotta be a little lighter. Right here. It kinda has all kinds of fun stuff going this way. It stops about there. Maybe I can even help to indicate that looks like this. I don't know a building this is, but there's a little tower here and then a gap and another little tower here. You want to explain that? And this looks like this is darker up here, this darker roof. I love Paris has these like dark gray tiled roofs. White, white marble, whatever they're, the material is very, very lovely. If you've never gone, I highly recommend it. Spend a couple weeks there. Then around France. A bit of love to go back and spend some more time there. Down here at the bottom, I might, there's a lot of stuff happening here. I might sort of indicate a little bit. I like how it's a little more obscure in sort of this atmosphere. So I don't want to do too much. I did a couple of things there. They get a little thinner and smaller as they get us in and then they're gone. Here I can do a couple windows here. There's a couple of little dark indications. I don't know what these are like little bits of those dark There's dark tile things. A couple of windows maybe. Don't need a whole lot. Now. Okay. Let's I'm going to cheat. Again. This is darker than it is, but I want it to be a little more reading better. So I'm going to cheat and add some light planes that aren't there. Just to help me describe the building a little better. Okay. Now I'm going to do some telling here. I could, I could go a little darker with these darks. I have the bracket of those darks. I can't get any darker than those, but that's a huge gap in value. I could make these a lot darker and it will still read nicely. So let's do that. This is a French lesson as well as a painting tutorial. As if I should be giving French lessons. Haha, hilarious. So I've got my sort of little darker. That's actually angled a little too much. Let's pull that up a little bit. Same thing with this one. That's a little too drastic. Painting. I'm painting that dark around some of these windows and it's making some other areas appear lighter. Again, because value is relative. 11 dark area, the same dark paint would look vastly darker if I put it right next to this area here, but I put it next to one of these, it might look lighter. Values are relative. So sometimes to make an area look lighter, you make another area next to it darker instead, and then you're done. So here I can say there's sort of this balcony thing that comes across. Balcony about sort of this ledge. And we'll make it a little warmer. Warmer, more like more Red Sea, there's a temperature term, it's more warm. But I'm specifically referring to being warmer toward the Reds. So that's where I used to definitely think of everything in terms of temperature like that. Warmer, warmer toward the reds, warmer toward the yellows. And it works. But it can be a little convoluted. And some of my previous painting videos, I do use that and it works. It's, I'm basically telling you which direction around the, around the color wheel should you be going. But it is a nicer way to think about as far as how much more blue is it and how much more red is it? That kind of thing? There's windows that I'm indicating. A balcony there. Again, we squint and you see just shapes. You don't always have to think exactly what it is. You just think about the shape that you're seeing. And little by little, the image to sort of slowly starts to emerge from this abstract form that you've created. And there's so much more interesting than painting every single shutter and every single window exactly as you see it. I think anyway, somebody is get a little darker down here. I will. I'm still trying to keep this where it gets more faded toward the bottom as if it's kind of obscured by atmosphere something. So I'm maintaining that. And I'm that toward the bottom there. It's kind of fun looking. And you're still seeing under painting poking through there. You're seeing bits of that red and brick and orange colors, which is great. It helps to add a lot of depth and interest that makes the painting look more alive. And these colors vibrating next to each other. You know, maybe some of these up here. A little bit of light planes on them even. That looks fun. Yeah, that could work for that for now. With a couple more details like polls and things in front, that could really work. Yet let's do some of that. Let's, let's pretend there's going to be, we'll maybe do some lights that rather subtly, very gently. I know there is a light pole over here somewhere. Let's say it's like right there. There's one and there's two that are hanging below it. And just poking, that's where they're going to be. So I can find my perspective line. This is kinda tough. You can maybe just sort of, you know, they point at this perspective line for awhile and then they change because I'm just going to kind of eyeball it based on where I'm seeing them in the painting. And then there's a couple that are much further away. Maybe about right here they start to and they're not really. So I can flesh them out a little bit. Let's again the Zika, dark wet paint over it. And so I do one stroke at a time. And kind of doing my middle yellowy color, one stroke at a time, get some more paint. And these are two huge. I want a nice soft live and edge without mixing them into mud with the dark color behind them. We'll put another one right there just because it needs it. So I'll take a little bit of light, sort of yellowish. These aren't incredibly bright and distracting. But they do help us to show some of this distance. Now we can do here, I'll say we're gonna do some palette knife stuff. Here's a little bigger Bob Ross palette knife. This is the bigger size. I can take some of my dark here. And I can sort of use this as a nice straight line. I could still, I don't wanna go too far down and touch the car underneath. It's still a little bit of a broken line, but it's a lot crisper and more and more thin. Then I can get with just a brush. So I think that was a second poll. It's right here. It's alright. I can use this to help indicate there was like a flag over here. Sure, it went up. Now all these little fun details will help to really bring life to our scene. A little flag sort of Wave. And right there, we can do another poll. Right here. There's some kind of a kiosk or something right here. It's a little darker than this building in front of it, or that it's in front of to show that it's closer to us. And maybe I can add a little bit of light, little bit zing on some of the things there. These little signs sticking out, see there's now these little tiny touches that you can add. Add a whole lot of life and character. Again, make sure my lines are straight as they're not. That mine was cricket a little bit. There's a couple like stop signs pointing away from us. Anyway, there's a tree, you can do a touch of green. There's like a bush right here. And there's another one I hear, not super green. These can't just like stand out of nowhere. And here I can do a little bit of what can agree it would work well with this sort of yellowish. That's a little too orange or, you know, a little more green in there. I don't want something totally garish that doesn't work with the rest of the piece. So it's gentle. And then maybe I can come back with some purple underneath, some lighter and soften that. I'm adding too much detail. A 108th. And you do a couple of polls and random stuff. Can take some lighter, real light. Highlights. My palette knife. That's use a smaller one. It all uses when do you in case you just have the regular travel size one, only this I get a little bit. You can use these to some polls, so we're going off into the distance. Oops, let's make sure I make a straight line. Here. It can do a little bit. Get a little bit of paint just on the very front tip of the knife, scrape it around a little bit. Add some details that are like distant. That's right on up whole tower, I wanted it. And you get some unexpected things happening. Just gives the city some fun distance kinda details, you know. Yeah, I'm just about wrapping up this piece. That's great. You can spend as much time as you'd like to add all the crazy fun details you want. Let's smooth that out a little bit. I don't want those to be to brighten garish and distracting. There, just kind of there. Oh, little bit ground. Let's see if I can get a ground and before my hour is up here. Let's try to keep these under an hour mainly so the file size is her RO Good length, otherwise, they're hard to work with. Just take some of this sort of whitish color, find the headlights and go straight down. I'm using the overhand grip here. Maybe as they get further away, they are a little lighter, a little more orange. This guy's got a nice juicy color here. And it can do a nice bright reflection for him. Yeah, I like that we added him in their work or her actually don't know. The cyclist. It adds a fun character, a little bit of a story like that's like, who is this person coming at us? So suddenly a couple reflections on the ground and we have a solid horizontal plane for our ground. We can even do that. Though the street line can make it start to point here. Maybe this person is in their own little lane. Maybe a little subtle indication of a lane line on the ground there. And then there's even some little bit of a cross walk here. They do angled down for reasons I think do a couple of those. A little bit of a cross walk here. See it doesn't take much. I'm pointing these at our vanishing point. And suddenly there's a little bit of a cross walk. There's like some big vans and stuff here that I left out is they're just not really important. I can cover up my vanishing points now x, I don't need them anymore. And I can put some lights over m So there's something happening there. And we'll put a little bit why it's coming down. Who knows what those are? More cars or something. I can cover up this one with my darker brush, properly. Awesome. I think we might have a finished painting here. Some of these lines, we get a little wider as they get closer to you. Of course. I almost don't. I almost wish I had done those a little further, a little lower, and I'll see if I can fix that. Let's see you have the omega mistake. The paint is still wet. I can just smear it away. And it never happened. If he did it in the acrylic. If you catch a quick enough, you can still do that. Lets do that line again, let's put it right here. Actually. That's better. So yeah, that's how it keeps away from our cars a little more so I like that soft edge underneath their cars. Here's our crosswalk thing. So you can still make a mistake. You just roll with it. Sort of happens. Maybe the lights on the ground tend to reflect the brightest against paint. So whenever there is some paint somewhere, you might see that reflection a little harder. Versus reflecting off the asphalt even if it is wet. And we've got to have other secondary color, I can do a clipping stroke there to clip that into a more of a rectangle shape. Awesome. So here's our fun Paris scene. I think we can call this finished. Come back and spend as much time as you want adding all kinds of fun details and things. Of course you get panel of your hands, but that's just the hazard of the job. So yeah, I think we've come a long way for this piece. We started with just the charcoal sketch, you know, thinking about drawing and values. Did the under painting adding some color to it. We have two vanishing points for these buildings as they're trained down the street. So there's a lot, a lot of stuff happening here. And this was a fun and challenging piece. So, yeah, I think we'll end the video here, and I'll come back and do a full recap here in a second. When I can I can show the charcoal sketch that we were using and everything else. Just kind of touching up some things I always say we're done. And I'm like, whoo. And I come back here and I want to add some things. Transitional colors. There's always a new color between every other color. You gotta actually mix a third color. You can't just necessarily blend them together and expect it to work. You'll have the right edge quality might be soft enough, but you have to actually mix a third color in there. Very often, something that you can spend hours and hours doing. So I didn't really do it a whole lot here, but I'll talk about it right now. We're equipped for it and the video. Just what I said. If you have one color that turns into another color, you could blend it so it has the proper soft edge quality. But chances are there's a third color in between that you need to actually mix and place in there. Like here from this white Headlight to this sort of orangey purple, I might add a third color of yellow to make it a really juicy shine. I can do that here too. So you can go back later and add transitional colors between all your, your, your colors, rather than just like whoo blend it. And now it's the right. It's the right edge. But you're, you're missing a key crucial part of the color and the glow and the juicy as it was a great way to put it, is a little bit in between this light and the dark is a little bit of a glow, a transitional color. And I'm adding. Okay, we'll come back here in 1 second. Do a fun little recap. So thanks for painting with me guys, and we'll see you back here in a second. 7. Paris Street Scene 6 Outro: Okay, and here we have our finished painting. This started out course as our charcoal drawing, which was just Vine or willow charcoal honest white paper. During a value in drawing study, helping us to find out that there are two vanishing points to sort of discover that about the perspective, which helped us draw the painting later. Find out where the lights are, where the darks are. Simplify the whole complicated scene into really two major shapes. The buildings on the bottom and the sky on top. Each one of those having their own little variations in value and drawings and things. But in general, two major shapes. And then from there went to the under painting, which was essentially the charcoal drawing just with a little bit of color. So we're now progressing a little further closer to our end product here. We did a simplified color palette of just a yellow ochre, Alizarin crimson, and ultramarine blue. And we can now start to set up some color temperatures, you know, sort of this more warm, orangey, pink here, then progressing toward more cooler, darker purples towards this side. And we maintain that motif throughout the entire painting. And then you just, you know, we started adding more details with real thick paint. Started with the sky blocking in moving forward all the buildings and things real, just general abstract blocking in one solid shape. And then you just add a few details. Like I think my favorite was when we did this just solid dark shape of cars that generally fades into the background to the vanishing point. And you add a few details on those cards if you plane changes, and suddenly it's a whole row of cars with all this detail in there that you didn't have to paint because your mind fills in all those details. Say they were the buildings. It's generally some plane changes and the one solid shape and you add a few details, a few nice perspective lines, some architectural information. And suddenly it's a whole facade of buildings going off into the distance in the city. So that concept, I like starting with an abstract shape and you slowly bring out the form by making smaller pieces and then smaller pieces and then smaller pieces. You know, use these, take it in stages like that. So that's it. I hope you really enjoyed this painting. If you want to see more of my work, you're welcome to look me up on online. Christopher Clark, Art is my hashtag in general, as well as my Facebook and Instagram. So combined, say hi, and I hope you enjoyed this fun painting today. I'm Christopher Clark. Thanks for taking my course, impressionism painting with light and heavy painting. I'll see you next time.