Essenciais de linha e lavagem: esboço de paisagem costeira

1. Introduction: Hi, I'm Darren, your watercolor artists from Melbourne, Victoria. Welcome to learn and wash the Central Coastal Landscapes sketching. You'll learn about essential pin drawing and watercolor techniques in order to create a beautiful line and wash painting. In addition to theory and practical exercises, there are also 17 included projects that will complete together. Walk through in real-time the techniques I'm using, such as Witton wet in wet and dry, also show you how to simplify and sketch any scene in pin. This class is aimed towards beginners and intermediate painters. Scans, drawings, and tracing templates included for each project to help you transfer your drawing over quickly and easily. In this class, a narrate my demonstrations in real-time. I explain every technique I use in the context of the painting, such as layering into wet areas to paint shadows of a tree or building. I'll be going over the essentials of layering wet into wet and wet and dry. Watercolor also talk about what materials you need and which ones I recommend and use. If you have some brushes, a pen, watercolor, paints, and paper, then you sit to go. Join me in this class. Let's create some beautiful line and wash paintings that you can be proud of. 2. Materials Required: Before we start, I wanted to talk a bit about materials. So the paper that I'm using is a 100% cotton watercolor paper. It's a cold press surface, meaning that there is a slight texture. You might be able to see a little bit of that texture on the paper here on camera. Basically what that means is that the paper will dry a little bit longer. And when you're painting, it's going to have a little bit of areas where you have the white showing through if you paint really quickly. So it's really good for landscapes, general street scenes. I think you can also use it quite well for portraiture, but it's really good all-round. Great papers. So cold press, most medium texture, a 100% cotton. Cotton paper. Grab yourself some normal cellulose paper or normal watercolor paper. Often if it's not labeled watercolor, 100% cotton paper, it's going to be made of cellulose, that's fine as well, but it can be a little bit tricky when you're layering over the top of a different layers that can lift up the previous layers. But again, just use what you have for my palette. This is what I am using and it's quite, quite messy at the moment. But I'll tell you the main paints and I'm using over here, I've got Hansa yellow medium, yellow ocher, purlin, orange. Over here. I have a quinacridone, burnt orange could apparently in red, buff titanium, a cerulean blue, lavender, turquoise, ultramarine blue, and burnt sienna, rural amber, green. I've got three different purples and neutral tint. Also use a little tube of white gouache. This stuff here, which is great for getting in some final highlights at the end of your painting just to recover a bit of the white of the paper at time. So you can see some of that leftover here on the palette. Now, you don't need all of these paints. If you just have your primaries, if you've got a yellow, you've got your red and you've got a blue, like an ultramarine blue, that should do quite well. These ones here, like the green, that's more of a, a convenient and mix. And this one is same here with the neutral tint. That's about it. I want to talk too much about paints by them in the tube and I squeeze them out in here. And they tend to last for a pretty long time. So I let them dry off a little bit before I start painting with them. In terms of brushes, I'll show you in generally the ones that I use now I don't use all of these by the way. I use a combination of them, but not all of them. Depending on the painting. I've got a bunch of brushes here. These brushes are great for covering large areas. If we're talking about large areas of sky, of grant. If trees and things like that, even water, these are fantastic because they hold a lot of water and they also have a sharp tip which allow me to cut around shapes. I tend to use those were a lot of the wash mixes. And then I use some of these ones here, just these little round brushes which are fantastic for detailing later putting in figures, that kind of thing. Maybe getting in sales. Even with this here, I can get in Moscow ships and maybe a little bits of grass, that kind of thing. Sometimes I use these other brushes, kind of specialty brushes is just a fan brush. I can use that to get in little bits of grass that I didn't use this old too often these days. These are more just, the other ones are just variations here. So of course, some flat brushes, which I don't use all that often these days. To larger round brushes. Normally in most of my paintings, I will actually just use the seven brushes over here. Let me see. You've got a brush that does. Mom picks up a lot of paint like a mop brush. It can be large round brush like this one as well. That is fantastic. In terms of pins. These are a few of the pens that I use. They come in different sizes, basically, as long as you have a 0.5 millimetre nib pen or something like that. 0.5 to 0.6 millimeter nip pin, that's fine. I've got a few different variations here. I've also got some pens that have a flat edge. As you can see, it's going to flat sort of tips almost like a permanent marker, one of those those marks that you write your name in and stuff. So those are just a few bonuses, but you really only need a 0.5 millimeter one. Just makes sure that the pin says waterproof fade proof, permanent. Basically said that the ink doesn't run when you go over the top of it in watercolors is we're going to be drawing first. Okay, So that's pretty much about it in terms of the miscellaneous material, I do have a little towel that I use to dry the brush off at times and a container of water. 3. Drawing Figures: So before we get started with this class, I want to run through some exercises with you so that you're well-prepared in knowing how to draw some basic shapes, basic people figures using some drawing techniques like hatching, knowing how I simplify shapes down. So let's start and we're going to talk a little bit about during figures first. So basically what you want to do when you drawing figures is you want to simplify them down. We have the head here basically, and we have the entire bodies. It's like a rectangular shape like this. Leg and the leg here they hid should fit into the entire length of the body 7.5 times. So if you've got the head here, it's kind of like 1234567, maybe 8.57 to eight times. If you end up drawing a figure that has funny, funny proportions. So for example, if you draw the head like this and you make the body kinda like this, shorter. And then we make the legs like this. Normally, that will be a little bit off if we draw an adult figure because that head will only feed. And how many times? 1234, maybe five times. So in this case, this might appear like a child or something like that. But usually children will have slightly larger heads in relation to the rest of their bodies. So you've got to keep that in mind that 7.5 times rule. Now in terms of drawing figures, you see how I just simplify them down pretty quickly. Basically what I do is that I just look, I basically just have a look at them and I'll say, hey, we've got a figure here, perhaps walking towards into the scene. Basically I start off with the head rounded, rectangular slash, oval shape, the body of putting more of like a rectangular shape, but depending sometimes you can get into more triangular shaped like that. Okay. If a female, because at times the legs I'll put in usually a thought with the first one, they are kind of like a triangular shape. And the other one I can put like that to make it look like that leg is going forwards. Okay. That's more of like a figure walking, walking forward. You can also have a figure that's just standing, standing straight, something like this. And then you might have the feet, just the legs, just a pot like that. They have it. You got to figure just standing, standing there and other hair is role-plays makes a difference. If you draw a little bit of hair coming down the back, it kind of looks like the figures walking into the scene. This one here, because I've just done the top of the head. It looks like the figure is facing towards us. You can see more of the fingers, hands as well too. In here. Figure on a side will be like this, okay, the head will sort of be the same, but the body will be like this. Maybe a bit of the stomach coming out a little bit more but the legs, I tend to just join them together like that. That just looks like a figure standing by the side. You can sometimes get coming out like that as well. It might be looking at the phone, uh, holding something like that. Now in terms of other sort of poses, you may come across moments, situations where you want to get a figure that's running or walking in a particular direction. Now the direction of the slant of the hidden body is really going to determine that. So notice this one that the head is slugs and little to the left that you've got the body so you can sort of in the body as well, which is still want a slight slant like that. And then we have a leg coming forwards and then a leg coming backwards. And look at the way I simplify those legs, they just triangles. At the end of the day. There's an arm. They might be another arm here could be holding something like a briefcase or whatever, walking into the, into that sort of direction. Same thing goes if you want to get a figure that's walking in the opposite direction, slot that head and body in that other way. It depends how far you want that slot to go. If you want that figure to look like they're running very, very quickly, you'd almost put the figure like this. Like that. There we go. We've got a figure that's kind of running forwards into the scene. So the grades of the slot, usually the more quick that figure will appear like they're walking or even running. Also look at the legs the more wide apart the legs as well. We'll also look like they're taking large lunges running towards a particular direction. I always like to add in color to the figures for the shadows. For example, what might pick up a little bit of paint here, I think there's a shadow into the right hands. The light source to the lip, to the right-hand side. And I can pick up a little bit of paint and basically just imply a lot source to that, right? Like that usually with a bit of the little paint on the left side of the figure's body joined that up with the legs. Quite amazing how little you really need to imply some type of some type of movement and shadow here for the figure. It's really a few little lines with the shadow and you can really get in a decent indication of any sort of figure. That's a little introduction to drawing and painting figures. Kind of drawing the figure like this. You've also got an opportunity to still go back into it and change things around the cow might pick up, for example, a smaller brush. I may pick up little round brush. I'll use this round brush and think, Hey, maybe I want to put in some like a blue shirt or something like that. I can pick up a bit of blue, mix that in with some gouache, go over the top would just normal, normal paint drop that in. We can dock the clothing of the figures as well like this. Put a bit more indication for the hair. There's a lot of options to just make those figures appear a little, a little bit different. I mean, this person could have is tie on or something like that, holding a briefcase or holding something here. This person could be holding something as well. This person could be playing around with the phone. For example. We've got here, this person could have a bag that's just to the side like that, or a backpack as well like this one holding it from the back. So lots of little details, tiny, tiny brush strokes can start to add more context and told a story for these figures, these are very, very loose ones, but few of the longer that you spend on them, the more detail and more story you can give to his figures out and try to keep them varied. Sometimes if I have just two or three figures, I really spend time just having a look in, deciding warm, want them to be walking into the scene away from the scene. Do I want them to be running? What kind of storage or I want to tell. So I hope this has helped and we'll continue on now. 4. Sketching Techniques: Okay. I want to talk a little bit about some basic drawing techniques. I won't go through a whole lot, but just the basics that you're going to be finding useful here to just draw and use a pen. So I normally use one of these pigment liners, which basically has a kind of felt tip, but the ink is permanent. Make sure when you buy one of these pens that it's definitely waterproof, because that means that when you go over the top with watercolor, it's not going to run everywhere. Okay. So normally when I draw, for example, if I start off with a scene, just a very basic scene, I just drawing a little rectangle or something like that. Okay. So I will place the horizon line somewhere in the middle, just below the middle point. And if I'm not sure, especially if you if you're just starting out, you can use the pen on the side. And if you use the pen on its side, or if you touch very, very lightly on the paper, you notice that line is quite faint. It skips over the paper, especially if you're using this sort of rough medium to rough textured paper. So this way, what you can do is kind of crack the set a little bit and then get that final line in. For example, if you're here and then you think, okay, it's actually here, that's where I want to put it. So the rest of it doesn't really show up and go over the top of that later. Now I tend to put the horizon line in because it's the easiest thing essentially to add in first. Okay. When I draw shapes, anything like that, I basically try to simplify things down. I try to draw with as few lines as possible. So here I'm just drawing in some mountains. You can follow along as well. Drawing, you know, just some mountains here in the background. Look at that. I've used a few little lines there to get in that sort of feeling here. Now, another thing you can do is hatched. Now, hatching is a technique where you basically draw lines in one particular direction like this and it indicates a darker value. Okay. Dark value. So it makes it look a little bit darker out there. Now, what if I want to get something even darker than that? Well, for example, if I draw in another set of mountains or something like that coming through the front. Okay, another set of mountains coming to the front. I want to make that darker. Well, you can basically hatch in the same direction, but make the lines closer together like this. And as you can see. It already makes it appear like this section is coming forward small to make the lines closer together and you can also crosshatch, which means you have the lines running in one direction. But then you get some lines and you draw some lines in running diagonally across those lines. That does the same thing. You can do both. Okay. Of course, you can use watercolors as well and just color this different area darker. These are just a couple of little a little hatching techniques. Now, what happens when you make a mistake? So say if I'm trying to draw a tree here and I think, oh, you know, ****, that shape doesn't look so, so right. Well, the worst thing you can do is to go in here and start, you know, trying to change it and trying to, like, scribble it away, that kind of thing. And especially scribbling away. Don't do that. See how you can work with this. So this was going to be a tree. I would say to myself, okay, well, I was going to put in the trunk somewhere here. Okay. Perhaps like this. Okay. So maybe I could just go over this section and just redo it like that? Like that. Okay. It just make it kind of a bit larger like this. Okay. They got it. You've got to. So you kind of work with your mistakes. Okay. You could have a line coming through here or something like that, and that's not what you wanted. Or it goes kind of like that. So learn to work with it and turn that to another branch like this. They're thinking about see how you can change it around to make it sort of fit in. But but whatever you do, don't go in and try to scribble it away. Anything like that. Work with your mistakes and accept it and just redirect the line. If you draw a line here and it's meant to be here a little bit to the right, just restate where you were going to put that line and simply just continue along, drawing what you were meant to draw. 5. Simplify Shapes & Perspective: Ready? So one of the things that I always try to do when I draw is I look at ways to simplify the scene. Now, I've got this scene here. We're going to use this as a very basic example. I'm gonna go in and just draw in a little frame for it. Just a little frame like this. It doesn't have to be too big at all just to demonstrate what we're gonna be doing here. Imagine that's the shape of your paper. And you see for this particular scene, the horizon line, which is basically the area where the sky touches the sea or where everything disappears, often appears as a tiny dot on the, on the horizon. That is about a third of the way through the page I'd say about here. I always start drawing off this area first, put that in once. If you able to get this area incorrect, basically the rest of it will fall in place a lot easier now, of course you can change it a little bit and sometimes you might be a little off. But at the end of the day, if as long as you're close enough, that's gonna be fine now with this particular scene where it's kind of a top-down view. So we see a lot of the heads of the figures actually below the horizon line. I mean, you've got a couple here that are standing around perhaps on the beach itself. You might have them little ones just off here in the distance but to top-down view. Okay, so we're gonna have a lot of those figures still below the horizon line because we're looking forward from a top-down view. Now if you're on the ground looking forward to the heads will be all lined up on the horizon line, will go through an example of that one as well. But this is more of a top-down, Top-down sort of view. Now, what we're gonna do is look at how can we simplify this scene. Now we've got the water coming in and we know that the water comes in. Let's have a look a little bit more than halfway through the page, a few little squiggly lines like this. There. There we go, comes out like that. We've got a fence area here and look at these buildings. How can we simplify them? I always asked myself, if I don't look at it as a building, if I just look at it as a shape, what is it? And it will basically, it's just a box. So we've got a box here. If we draw that in, like this little box, and then we draw an another one. There's another Books Behind like this three-dimensional box facing the ocean. There's kind of a bridge. I don't know what this is. It's a type of breach or something here meant to kind of bridge that. Again, it's kinda like a rectangle with a semicircle arch balloon in the background. There's another rectangle, 3D rectangle, another one here, okay? And the rest of the same rectangles like that. They have a very simple sort of representation of what you see. Of course, I spent a little more time perhaps drawing things in some of the flaws, perhaps some of the details like chimneys or what have you. But at its essence, this is what we are talking about in terms of getting in a simple drawing and looking at the shapes. Even in the shapes you might find. For example, the building here. You might find this building that there is a smaller shapes in it. So it's actually smaller at square on top of that building like that. You work with the big shapes, get the big shapes in the big lines. The important lines like this horizon line in. The rest of it will start to fall in. And then you can place the smallest shapes after work from big to small, separate the sky from the ground. Then you can stop putting in the small figures. At the moment, what I've done is that I have replicated this scene up above. Basically just putting the same horizon line, a little bit of the water as you can see up at the top here, we've got a top-down sort of view. All of the figures heads are below the horizon line and as we get further down to the back of the head starts to move up towards the horizon line. And I'll tell you, make it look like there's more of a high vantage point. Now over in this one, if we want to make it look like everything is basically eye level, we go ahead and of course we draw the buildings in. The buildings don't really change all that much. I just put them in like this. Not I wouldn't say there's a huge change through these because the angle is not so high up. But you're going to have buildings like this, same as before. Obviously there's that bridge. I'm not going to really draw too much or they didn't. But the figures, the heads are going to be here on the horizon line. No matter how big or how small the figures out, we can have a big figure here right in the foreground and the legs just almost disappear. Versus a figure all the way back here in the water. In the water here. Standing all the way back there. The heads are all lining up on the same point on the horizon line as you can see. And that is what makes a scene appear flat. Normally, this type of composition is quite, quite popular in a lot of landscapes and a load of street scenes. I use a lot of these. The same composition and perspective, maybe with slight variations. But the difference between these two is there is a slide that's definitely a slight difference. And it's important to know these don't really use many other, many other views rather than these, especially for this sort of saint. If you want to seem that looks like it's quite wide and majestic and encompassing. A top-down view can give you that impression. This gives you a more personal, almost like a snapshot as if you're there yourself. That's my little section here on simplifying shapes and a crash course in perspective. 6. Understanding Values Exercise: The sky and probably the water, maybe the solder that building, potentially the sand as well, definitely that sand. That's gonna be the broadest part of the painting. We've got shadows down the right-hand side of these buildings, costing some shadows into the water, onto the sand as well. Okay, So we want to make sure we preserve that feeling of lights in there. So I always like to use a really light wash first. And for this demo, I'm just going to use one color. I'll go in and drop in a little bit of purple here for the sky, look how light that purple is. It's about 90% water. I don't really have any other any other mixing here, just purple, maybe that leftover paint there. Try to use one color. This is going to help you out tremendously to simplify things and understand this exercise. Okay, so that's the sky, very light wash. And also here you're getting also quite a lot wash for the sand. The sand is even lighter than the sky. Marginally lata, the water. The water is slightly. Let's have a look here. It actually gets lighter. If we look here, the sand is lighter and then it goes darker near here, near where the water is. Interesting, and then the water then goes slightly lighter again. You really want to have a look. And sometimes if you squint, it really makes a difference. If you squint, you can sometimes make out these tones, these values. I also think the waters a little bit darker than the sky. If we look at the back here, that motor is slightly darker in some areas, separates it out from the sky. At the back there. Of course, we got these buildings as well running through and they are DACA. Pick up a doc, a bit of paint like this, a little bit more of a mix of purple in there, drop that in, and there we go. We've got the shadows on the right-hand side of the buildings is a bit of a shadow. A bit of a shadow here. They're pretty dark. Shadows. The one ones in the background, little bits of shadow on the right-hand side as well. You've got some darkness in here on this bridge. And of course you've got these kind of shadows that are just running across on the ground. The grass here that go all the way across. So you've got that. But of course you've got lighter areas on that left side of the buildings that you can leave white or you can just put in a very lighter mix in there to make sure that it's still retains a lot of the light. Simple values exercise. Let's go ahead and try it again on this one. Let's again dark and that Scott little bit of this purple and it's still quite light. I mean, it's really one of the lighter sections of the painting. Apart from the water and the cement. A little bit of that. Let's pop in a bit for the sand. I'm going to lighten this quite significantly on the left. And as I go to the right, I'll just add in a little bit more paint to just darken it down near the water. Water does have more of a darker turn my width Sans sorry. Then you've got the water which is kind of lighter again. As we go up to the back, you're going to have a little bit more darkness. All the water out here. It just sort of separated out from the sky. Buildings. Again, this is going to be some dark shadows on the right-hand side of the buildings. Here. Mainly on the right-hand side like that. And then of course you're going to get some of these shadows going across the ground, like these, which are basically the dark speaks of the painting. Obviously the figures are very, very dark as well. You can go through them and color them in and also put in a separate shatter for them. But try this exercise on different sketches. And if you're not sure about, about values, this is a fantastic way to practice as these tiny little sketches when you're using one color, it's, it's very simple. You don't have to think about the actual hue and whether you need to naturally liked to say like a yellow, It's very, very light versus the purple, so there's just less variables and you can learn how to do this. Also, you can use a pen, you can sketch as well, and that will also help you to understand values. You can use a pencil. But that's about it. 7. Understanding Colours: So I wanted to talk a little bit about color mixing and it's something that I get asked constantly on. And I think it's quite important to discuss color mixing and also the relationship between color and values. So I'm gonna draw an, a few quick sketches here. I've already got one here from one of the previous exercises, but I'm going to draw four more, three more really quick sessions. We're going to try different sort of scenes. For this one here. Let's perhaps go with maybe some buildings or something like that here. We can go with some buildings. I'm just making this up as I go like that. Maybe there can be some boats here. There could be a boat here, there could be a book here, for example. That could be, it could be like Venus or something like that. Who knows something there? There's a quick little tree related seen over here. We might have just some simple mountains here in the distance. This can just be the, the land, maybe some figures walking around. We can have a couple just walking doing the business here. Then over here we can have a quick little beach landscape, something like this and the hit land coming in there as well. And we've got some figures, couple of figures just walking along the beach just like that. Maybe a dog or something like that. Well, let me be adult. Hey, big talk. Anyway, let's go ahead and I'm going to show you how I mix some of these colors and in the relationships to the value that I'm using. Color and value out. Very important to distinguish. Color is basically the huge or whether it's warm weather, it's cool. We're talking about a cool color. We're talking about something that tends towards the bluish color selection. We're talking about something a warm color. We're talking about a color that's more sort of red, yellow, orangey sort of color on the color spectrum. Now, when we talk MET values, we're talking about whether that lot that, that color is light or dark. For example, when going into the sky here and I want to make it a nice, warm, sunny day or something like that. And perhaps I'd go in with a bit of light blue at the top you lights to rule in blue. So the value here is, it's a light value. And I'm using a cool color, cool hue. Because I want it to be light, because the sky is the lightest section of the painting. Now I want it to be cool because I want it to look like the sky. During the daytime when there's no clouds and it's not raining. So that's why I'm using that color for the sky. So now what we're gonna do is perhaps go into the water here below. And normally the water might be, I find the water is often slightly darker than the sky. Unless it's a really sunny day, the water will be a little bit darker. Again, we're using a cool Cu, cu colored hue, which is tending towards blue. And we're using a darker tone, Todd darker value. You can see going through in which adding a bit of color here, darker values. We can even pick up a little bit of really dark values, like some just, just a really dark value and just drop that in here like that and create the impression of little thought waves. Just like that. We can even do that with the sky, can drop in a little bit of this to create some clouds or what have you in the sky. If you want to make it a stormy day? Using a darker value into a lots of air that is has a lighter value. What about the buildings here in the background? Well, those need to be darkened as well. I'm just going to go ahead and make sure they the dark until they stick out of the sky. This is again, a kind of probably a neutral hue, so it's neither cool or warm, probably, probably slightly cooler. Actually. I'm just coloring, coloring these buildings so that they come forward from the sky like that. Then we might have, for example, these boats, which we will get in really dark. I've got an, a full tone here. Who value just a really, really dark color. Again, we using per a kind of neutral hue or maybe a slightly cooler gray color. But we're using full tone. In a very dark value there to make those boats come forward a bit more. So there's one, Let's have a go at this one here. I'll pick up, for example, a nice orange for the bottom of the sky, kind of like a sunset drop that orange in. And this is a warm, huge, very warm because it's tending towards the kind of orangey red, yellow, the color spectrum. And then on the top or I pick up a light kind of cooler hue, which is basically this cerulean blue, wanted to blend in to make it look like there's a sunset. Alright, the ground, I'm going to pick up a warm hue, which is just a yellow ocher, drop that in there. I put in a little bit of brown as well, just to dark and it marginally like that, just a bit of little bit of brown and V2. That is also a warmer hue, but the brown adds a darker value in the lighter value, yellow down there. We're going to go through and we're gonna look at, for example, these mountains in the back. Now we want the mountains to come forward. We don't want them to be in the same, in the same depth as the sky. So I'll put it in a bit of blue here, for example, for those mountains. And let me just dial that down a bit, make it move like a purplish color. There. There we go, and then we just drop that in. You can see the mountains are already come forward a little bit. But what about these trees? You might ask, well, we can pick up a really dark color. We could pick up like a brown and just drop that in. Again, I'm painting this wet into wet so you're not gonna get too many sharp details usually with these trees, I'd wait until later to put in the trunk so that it just looks more sharp. But you're going to have that, you're going to have these trees, these branches here on the left as well, which are going to be nice and sharp. Doc coming forward the document something, the more the more it comes forward. Of course, the top of the trees, we've got some green somewhat dropping a little bit of green here to make it also come forward like this. Shadows often are quite dot as well, but they usually a little bit lighter than the actual object itself. So I might have some shadows running to the right-hand side there of the trees. Something simple like that. Let's go ahead and try a couple more down the bottom here. So this is a simple scene. For example, I might want to make it, Let's have a look. Maybe we make it a nice sunny day. I'll pick up again a bit of orange, drop that orange in here just at the base near the mountains or whatever is at the back. I'll pick up a little bit of a cooler color and drop it in. It could be a kind of almost looks like it's getting dark. They just dropping a bit of that gray in the sky up the top like that. Go into the ground and I'll pick up some more gray, drop that in here for the ground like that. Just go around those figures. Some of the figures, which is grays basically now the warm or cool, It's meant to be in the middle, but you can have grades that I just have a warm or cool bias. So if you mix a bit of warm color like red or orange into a gray can turn it warmer. If you mix a bit of blue, you can make the gray cooler. So at the moment we've got a warm color here in the background, which is basically just a, an orangey color, beautiful gray at the top, they're warm gray because it's mixed in with the orange. And then I might be a little bit of blue here. Drop in a bit of blue in the distance. Using blues and basically cool and warm colors together creates a beautiful sort of vibrancy because both of those colors, essentially complimentary colors. If we looking at opposite ends of the color spectrum, if we pick two colors from opposite ends or nearly opposite ends, you're going to get a better feeling of vibrancy in your painting. So here we go. We've got an area in the background that's DACA. I'll just drop in some more paint like that. I might go ahead and perhaps pick up a bit of colorful these figures. I'll put in a bit of turquoise or something there. And of course, getting an indication of a shadow maybe running towards the left like this for some of the figures. The legs in a bit better like that too. You can get in these little indications like that. Let's have a try this last one. Q. Let's have a practice run again. The sky Let's go through a dark sky. Maybe go for a dark blue sky. It's nighttime and let me just put it in a bit of gray in here as well. Just try to dog and down the sky a little bit. Like I said, we got really dark over here. I'm going to bring this across. It's kinda like a purply color like that. Okay, That's for the sky. Maybe maybe we could drop in a bit of a darker paint in there just to getting a bit of extra contrast. It could be some dark clouds that are just moving through that area and not time. Something like this. Yeah. Then for example, we can go into the water and it'll just get in a little just indication of that water like that. Keep it going to be fairly dark stew in areas. And then we've got a bit of land here and let's pick up some warmer color, just a bit of a warmer yellow that I'm dropping in here. It's mixed in with a few other things, but it's still pretty still pretty light compared to the other areas. And it's warm, which is important, just contrasting with some of the cool colors, It's got a bit of warm in there. I can go into the background. Of course, we're gonna need to make this quite dark. So I'm using a really dark tone, dark value here straight into these headland at the back. Because, because the sky is so dark, we need to make this darker than the sky. The only way to do that is to use a full tone of full value here. I can just drop in like that. Of course we've got some figures and what have you here as well. We can sort of figure out when do we want the shadows to go? Maybe we want some shadows to go to the left, that kind of thing so I can pick up a bit of darker paint and just dropping a little bit here on the ground to make it look like the figures have their legs moving a little bit of basically a little bit of better to the left and there's the dog. Here's where you can't really see the dog anymore, but it's kind of indicating that light sources to the right. So this value here is basically the largest value, this white and put the dogs value here. When you have a really light value next to it, fairly dark value creates maximum contrast. And the I sort of focuses in on this area. Basically, we have a few different scenes here that we can sort of play around with, but try this out with a few of your own. And all of these I've done I've just wet into wet obviously because they're quite quick. Just want to get them done faster. But you can already see some of the things we've done with combine some warm with cool colors to create more vibrant and interesting color combinations, complimentary color combinations. And we've used different values at the same time to bring forth certain speeches and objects, that kind of thing. To the foreground. We've made these buildings Lu doc and then the sky. It's kind of hard to see now, but it should be more like this, just slightly darker than the sky. And then we've of course got all these darker kind of boats here. In the foreground. There going to be quite dark and they come forwards. Having a large range of tones, a large range of values like this, basically allows you to indicate the context of a particular scene. So nighttime, you're going to need to make that sky darker. And then you're going to need to make this area of the headland darker to compensate for the darkness and the sky and even the sand, you're going to have to make a little bit darker as well. Over here. We've done a little bit for these, these trees basically, but as you can see, just a little bit of detailing into the trees as well. With a dark of value, brings out the trunks. We have a slightly darker value for the shadows here as well, the trees and the mountains and these branch or darker value than the background, um, which is a combination of a cool color and a warm color, creates nice contrasts. We've got a combination of all these scenes of contrasts between cool and warm, light and dark values. And having that combination is something you should always aim for in your paintings. It creates very interesting eye-catching compositions. 8. Stormy Beach: Draw & Paint: For this scene, we're gonna be doing a very simple beach scene. A bit of headland at the back, a couple of figures. And this lovely ocean Spray sort of coming in. The sky is fairly dark. And this is interesting because it kind of looks like there might be a storm coming and just keeps things a little bit interesting. We've also got a high contrast between the sky, which is fairly dark compared to the sand, which is lighter. So Let's give this guy, I'm going to actually draw in a little border. I'll keep this a pretty wide border as well. Okay. Something like that. It's up to you sometimes I do like to give it a bit more birth on the sides. But actually most of the time I actually go quite close to the edges, but we'll see how we go with this one. I just want to squeeze it into a smaller space. Surprisingly, some of these ones tend to look quite, quite nice with the obvious border. We've got the scene in here. What we want to do is separate the sky from the ground and the water so the water we can see it starts about if we look at the entire scene about a third of the way through the page, let me slightly higher than a third of the way so I can mark in these two sections like that. And of course just stopped bringing across little line. Just like that. We've got some headland at the back here. A little bit of scratching in for these literal Up headland here, as you can see, just going off into the distance like that. Of course got a little more of these whose land off in the distance. Just trying to get in detail up here. It's actually a little lighthouse rod on the top, but not really able to see it or not. I don't think I want to emphasize that as well. Thinking about putting another beautiful rock here or something, little rocks. Just to bring through this feeling of this bit of Hitler and keep it. And then bring it a little bit further out to the sea, but create a bit more detail in here. Because with a simple scene like this, often what you'll find is it looks great in a photograph. You need to just spruce it up a little bit in the painting. And the reason why is because we're actually simplifying down a lot of details. Whereas in the the actual reference picture, as you can see, even though it's simple, there's actually a fair bit of detail that the cameras captured. So when we drawing, a lot of that detail is actually lost. So let's get in a little bit of the area of the water. I'm just gonna try to put it in, some of it coming in. Again, we don't have to really imitate exactly what's going on there. But I thought I'd get it to come in right about right about halfway. It's slightly more to the halfway points right in the back a minute as we come closer, it's sort of receipts inwards a bit like that. Notice just how lightly I've gone with that pin as well. I don't want it to take up too much space. Also look too sharp lines and things like that. You can see a lot of these waves and I'm just trying to indicate some of them, mainly for painting afterwards. These black lines, I hope more and show through too much more sort of giving indication to the direction in which the waves flowing. Kind of coming inwards like this already. So let's draw, drawing a few people gonna go and put one person here. Simplify down as well. The head just a rectangle, the body also the kind of the larger rectangle. And then I've got of course, the legs, like a BSW. I can join them together like that. We can put in another person here as well. Simplify down those legs like that. You can see them kind of walking through into the scene. I'm thinking as well, I might put in a few more figures in here as well just to keep things a little bit more interesting, that foot in front and notice how as we go through the same, the figures at the back and get a lot smaller. You don't have to really put too much detail for the ones right at the back. It's more than ones in the front. We might want to, for example, getting an indication of this person's T-shirt, maybe they're holding onto something here as well. But I do want to keep this one pretty pretty simple. Here's another one. Got another figure here. It's really good exercise and perspective because you can practice simple perspective of the figures. The heads are just on the horizon line, which makes, makes the area, the land to appear pretty flat. And of course you have these figures, some of them closer and some of them further away. Perhaps with their legs lifted, certain angles and things got a couple walking through a bit closer. And I think that should do it. I don't want to exaggerate anything. Let's go ahead and get out. I'm paints Friday. So for the first wash, I am going to start going to actually use a mop brush, a medium-sized mop brush. And this is going to help basically just getting a bit of color into the sky and do like this kind of almost very dark. But I'm going to go in with this purplish color, maybe a bit of ultramarine here as well. And a bit of lavender mixed in here. I can actually put in a bit of ultramarine down the base like that. I just wanted to create a light wash over the top of all this and I'm actually going to drop in some heavier paints soon, but I think this is a good place to start. Initially. It's kind of almost like a purplish, slightly purplish mix. Blues in it as well. A bit of ultramarine and a bit of cerulean blue. Going. Just bring this wash all the way down. It should leave the page a little bit to encourage the water to flow downwards. If we go just bring this down kind of where the hit land starts right there, cut around it like that. Just real basic tiny bit of cutting around. Just with a water begins on going to stop there. Good. Some of these water upwards. Good. K. So here comes the fun. Of course, we're going to just pick up some darker paints. I've got some purple here. I've got three different types of bourbon was actually I can just pick up a bit of this here is amethyst. It's kind of like a granulating purple, but we've also got other purposes as well that you can use good stuff called imperial purple. I wanted to just create a bit of darkness in that edge there in the sky. They're a bit here, but I do want to leave in some of the whites as well. So being quite careful not to get rid of all that the lots of colors in the sky because they actually draw out the doc. It's a lot more money, not when you have lights in the sky. You've got to have that the opposition of colors running through here in order to, in order to create the feeling of light and dark. And one cannot exist without the other. So this is why I'm pretty careful here just to make sure that I'm putting in some of these dark color. Also. I am leaving in the lighter bits. Very simple, very simple. I don't think I'll actually go any darker than that. Let's go ahead and I'm gonna pick up a smaller round brush. Number six. I think it's a number. I know it's a number eight round brush. A few hairs are fallen off, so it's probably not a six. Now, what we're gonna do is we are going to work bits on the water. I'm going to pick up some of the cerulean blue, just bring that across like that. I want to make it very, very light. Hopefully we can just getting a quick indication of some of these blue running in the water like that. But we'll leave actually load of the white in there as well. That white color and that's going to indicate the It's kind of waves swell the way in the distance bit more as we come down to the front, I'm just going to pick up a little bit more paint. But a lot of it's just close this kind of white colors. As we get a little bit closer, I'm going to pick up a bit more paint like this and just drop it in here. Just merge it on a little bit onto the front here. Coming into the shore. Before this all dries. One of the important things to do. I'm getting the dark bits, all the sand. There's just a little bit of sand, a kind of a dark sort of yellow color right here next to the water. And I'm going to just darken that a bit and mixing a bit of gray in there as well. It's kind of like a doc a bit of sand here like this. It looks like wet sand or something like that. Just surrounding the water. Not gonna leave any white in here. I want it to blend in very nicely with the waves and these blue waves or what have you like of that. Fantastic. Once that's done, I'm going to start picking up some of these buff titanium. It's just a white color, off-white color. Mix it in with the yellow ocher and create a very light wash over on the left-hand side. Notice little light wash, almost the same color of the background of the paper. But just to get rid of some of that white in there. Let me go join that up with the water. That got a bit of this sand. That's all it is, just a little bit of sand here. Of course. One of the things I really liked to do is to pick up some paint, a little bit of brown or some MAC here on the palette, just leftover bits of paint and use, use this brush to kind of tap in a few bits and pieces. And at times you can also just dropping a brushstroke here with it. Sometimes this can look like a splits a seaweed or washed up bits and pieces on the shore. It just helps to give a sense of directionality is what we, interestingly enough, It's sort of leads, leads the eye in. You don't want to overdo it. Just this little bit of splatter here on the page. Like that. Simple but can be actually really effective. Think of going a bit far down at the bottom here. So if you ever do that and you want to get rid of it, you can always pick up a bit fishy. Pick up a little bit of tissue inches, just dab it off on the edges, just soften off like that. Don't worry too much about it. I'm going to go into the mountains here in the back and pick up a little bit of green, which I'll drop in there. Not only that, but perhaps some brown, beautiful neutral tint, some blues in there as well. So that we can just dock and down this headland out the back because it's very, very dark. Of course, because that area is still wet. We're going to get some merging, a bit of blending in there as well, so that's definitely anticipated. Another thing, again, you can start using this sort of pick up a bit of excess paint here and there if you'd like. There's also this sort of miss the feeling. If you can see that this misty feeling back here. So I can actually use this tissue to my advantage and pick up some of this paint to create this sort of slightly miss the fill off in the back and in the distance. Sometimes I actually damped that tissue with a bit of water and do something like this, just dab that area, the lift off. Very small amounts of paint like that. Coming along. The main thing is just to keep it pretty dark. This area of the headland, perhaps in here would be good for the rocks and the water. Don't worry about getting a feeling in all these wights. Well, remember that leaving some white on here, actually it looks good. We've got some sharp because some soft the bits may have to just increase the size of this area of the hip land because it's coming up and going a bit funny up there. So I can just That out a bit. Let's bring that across a bit more green for very dark as you can see, it's just all the darkest part of the painting really like that. But again, these little bits of white leaves, some don't have to call them only in, they could be people, they could be anything at the back there. Funny enough, these little blooms and areas up there can also look like unstructured trees or things like that. Pick up a little bit of dry and paint like this and you can just do this kind of thing to indicate. Again, the soft edges that could be trees, bits and pieces. And it blends into the sky quite nicely as you can. As you can see already. We're gonna give this a really quick dry. Now, what I want to do is getting a little bit of detail for these figures and really fought for one of them. I think it really dark like this one here. Almost completely black. Just the very, very dark. So I'm just going to color that one in a bit like this. Legs in just a week. You're gonna be able to see much of that pin in there anymore after this. That's for sure. Okay. You've got one next, next to the figure as well, which we can just continue a little bit of color, for example there. And don't always have to always have to color everything in. Leave bits of the previous wash on there as well. I've just put in a little bit of pink, pinkish color. This one here, I'll just get rid of the little bit of water on the paper light wash of this warmer color. I'm not going this one hue with a bluish color like this. Little bits and pieces. I'll let go to the drop in paint. Sometimes in there to make things more interesting, we can assume blended kind of paints. One thing I wanted to do as well as just get some really basic shadows running across the ground, kind of towards the right of some of these figures just like that. Something there to make it look a bit more realistic. There's really not much to put in here in the way of shadows. It's just simple. More kind of these little shadows running towards the right-hand side indicated by the light source in a little bit like that. Fantastic. Again, we've got these bits and pieces here and kind of like read or what have you here over here, underneath in here. Back. These tiny little marks. Because again, like I was saying, we have such small amounts of detail in here. They actually really help to create tiny bit more detail. Even here in the water, you might notice there's some waves that are just a little bit dark or I can just indicate them like these running through just running through it. I don't want to destroy this blue beautiful blend as we get sort of where the sand and the water mixes. So really what I'm doing here is I'm just using the very, very light brushstrokes to some dark waves or what have you. It's just so thoughtful. Even actually here, this dotted border coming up near the front so I can just darken it a bit. Maybe just spirulina and the teacher's like this, Suilin drop it in like that. Then that edge off a touch as well like this. Fantastic, I'm going to now put in a bit of brown in the mountains and just speed some pieces. Again, just kind of like this dry brushing technique that I use a pickup, a bit of darker paint and then just use the side of the brush. Feathery in some bits and pieces, some little details or what have you. I'm just having a look at that reference and seeing if there's extra detail that I can imply all the way in the back there, especially. It perhaps the headland touches the sky little because we had lost some of the edges up there to the softness. I think some sharpness up here. We'll also balance things out nicely. So simplifying, of course. This area is also already just so dark, so there's not that much to add in here. The texture is what I think is interesting, just a little, little bits and pieces of texture. When it dries, it actually looks quite interesting. More bits coming up and up there like that. Then I want to darken some of these shadows a little, connect them on better with the legs of the figures. Put in a few birds in the sky or all the way in the distance. Just a tiny bit of this paint and just drawing a few little v shapes in the sky. Also in this really large area here where the rocks and the waves and actually putting some waves a little bit later, some tiny little ways with white gouache. Small birds around Hera would be good because we've got higher contrasts. Of course, lists. Dark areas down the bottom. But of course, putting in a few in other areas is so important to me. Wrap the brush further down like this. Get more control. Doing this like that. Little v's and sky. Keep them pretty randomized as opposed to focus them all in one area where you can have like a little flock of them, spots, that kind of thing. They help to join up the entire painting. It makes it look a bit more interesting. Going to go pick up a little bit of white gouache. Drop that in to the side of the palette here. What I'll do is just use these to finish it off with some async little highlights. Pick up small round brush for this little round brush. Be able to put in a bit, a bit. Too much, too much paint on the brush. I'm gonna get some more. Woke wash. The thing with white gouache, that it always, it's so easy to get contaminated with other paints. So you have to really clean your brush well and make sure that the previous, the previous paint is no longer in that brush because even at a tiny little bit of paint in there, we'll turn your gouache, different color. Just how it is. Let's try this now That's better. Just promise, just picking up straight, straight from the bottle, little bit of the head then a little bit of the head here as well. The shoulder like that. These little indications of the head and the shoulder. Here's that figure to the left as well, tiny bit of gouache to the head, to the shoulder. Do the same thing for this figure here, indicating that light source coming from the left-hand side. Good. Bit more into the body too, if you'd like. Testing, I'm going to drop in little up here it indicates some tiny birds or something just be flying through, catching the sunlight. Little, little details, tiny bits in pieces. Move birds, just flying through the mountains and hit land at the back. Sometimes you, if you don't connect the wings, it looks a bit better. Keeping them. Keeping them interesting. Good. Of course, I did say we're going to work in some of these waves are a little bit and maybe bring out some of the white that wasn't there before. So we can also just do this sort of thing. Sometimes you get a bit of a spray on the ocean at these waves at the back, look at those. Some of them just come straight up. But you've got some here, for example, just a little waves coming and joining up. Just a bit of this I think is nice and all over the place, but just a bit. Do it with the gouache. A few bits and pieces here on the assures, well, they're not really anything that's actually there, but just some color too. I don't know because we've got all these blue and stuff over that side and it's kind of getting a bit inconsistent. So dropping a bit here, make it look better. We are finished. 9. Barmouth: Drawing: In this scene, I have a photograph of bomb mouth, and it's a pretty large photograph. And what I've done is just taken the middle section of it so that I've cut off the two edges. It's a very large panorama sort of view. I think this is going to be interesting to draw and paint these boats. We've got some houses, bit of beach and a bit of sand genes here at the back. Oh, or what have you. So let's go ahead and give this a go. Now I'm going to start off by putting up some, let's have a look here. Just some thinner one is I think I'm gonna go in with a 0.5. I'm pretty, pretty standard sort of line up. What I'm going to do first is getting the air of rod at the back with the houses and everything starts. I think it's about it's about a third of the way from the top of the page. So let's say about here. Again, little generic align, mocking that edge, like that. Fantastic. And you're going to notice as well, you'll find that there are these mountains here in the background that you can really just put in first, It's the easiest part because you don't really need to think oh, too much. Just a larger shape thing you need to remember is just where the mountains sort of finish. It's kind of interesting because this one nearly goes about two-thirds of the way into the page or even further. But then there is some back background mountains as well that connects. Go ahead and put those in and afterwards what we can do is look at how they are and perhaps sign doc and some at the front, a bit more so inside the mountains as well, you can see there are the two houses or lethal structures in here, building small ones at the back. That was probably these ones are probably the big. Let me just swap to a smaller point to pin as well. This is going to help me to detail getting these shapes a bit more easily. The end of the day, just remember that they kind of just squarish like shapes off in the distance. You've got to kind of other house sort of here. And I breach all the way in the back as well, just going all the way through. You can see I'm just going to simplify this bridge down. Really see it that much from where we are at. Fantastic. So again, with all of these buildings, it's really just looking at how we can simplify them down. Of course. I want to get them all in one go as well so that they join up together. And the light source is coming from the right-hand side. You can see the shadows. Certainly left-hand side, you see the shadows being cast towards the right. This is something that I'm doing, just making sure that I getting those shadows later on. But of course while we are working on those and just again, just putting in some of these little houses, really just rectangular shapes and what have you here, which we can indicate there to be extra additional hazards and what have you. There's a larger one here that's up near the front, which I will just detail a little more like that. Comes down around. Let's get this facade in this as well, like that. Testing. There's a kind of section is blue section here in a couple of polls. And what have you coming down? There's some windows here as well. And then you can put in some little windows with the bits and pieces that are closer often does help to detail some goofy little lines and what have you. This is just in front of that building. Mainly. There's a beautiful area here. Kind of like raise their elevation where the boats and what have you potentially don't is actually few boats here is that you can sort of just put in that section and it's not too obvious and it's just squares and bits at the moment, but we can of course, indicates some of that later on with the, with the gouache. But a lot of these houses look at them. They're just squares. Look at them as one's got a dome or something though. I think that's a dome, something like this. I think go up into the mountains, another rectangle and then I'll get in like a rooftop, like a vase. For instance, have a look in here. Just get the rooftops in first. I think that helps a little roofs and the overlap lot, which makes it quite a lot easier if you can draw in a few of them at once. Like that. As we move up into the distance as well, Find the amount of effort you need to put into detail becomes less. You just looking at getting in the, mainly the rooftop because the rooftops have a bit of light reflecting or something like that. It's the little bits and pieces in there. Let's have a look, perhaps another house or something here. Another one here. I think that the boats go in behind it and there's a canal is a canal that runs through like that. Okay. So I think that should be enough for now. I'm going to put in a little indication of where the water line is somewhere around here and it comes out comes out about a third of the way through the page here. In the foreground. We have some of these jobs or what have you just some pieces here near the front. And I'm going to get the mean later on with a bit of Witton wet and wet to make them look a little bit more fluffy. Job here just to put in some of these boats so we can start with something like that. Let's just get in that book there. And just follow the general structure of these boats. Just look at the stain and figure it out. Lots of putting the mass of these as well. They look really good, I think against the water up. If I can go ahead and indicate some of those, of course, I'm going to definitely going to do that. He's another one here. Of course, a lot of this as well can be editing once we finished. Once we finish the drawing. Think of this as a beautiful plan for the painting. But one of the pen will remain behind anyhow. Some more here in the front. Look at the back. That's kind of like a rectangle. This is kind of a largest ship that the mosque going up. It's in pieces on the boat or something like that. We've got a larger one here as well. Just find a way to get it in that it's kind of empty space on the back. Like that. Course we've got another mask going up into the sky. We've got a bit of a I want gear on the side and you've got little ones here in the back. So just use your imagination and the reference as well, of course. And put a few in. This looks like some speed boat. Yeah, I think it's something quicker. Put another one just on the edge, like that. It's really important to make sure that you've got variations of these boats so that some of them look facing in the opposite direction or what have you. And they get smaller as we go out the back as well as you can see some of these little ones all the way at the back like that. Just some little ones like this gives the impression of feeling of dip in the scene. Excellent. Of course we've got a few here on the actual Friends at the scene. So I'm gonna draw a rule, this one here, this red one, It's quite interesting. I like that one. A bit closer as well. You can even see the shadows underneath the boats. That's something that I might do later with another pin. You can do it now, but just getting the top bit of it fist. And I often use with shadows, I'll use a thicker, thick a lot and I just forget again. One going off like a flat pick up a ladder, one here that I can just play around with this module one. Hey, something like that. Same hue, but this one, a little bit of darkness. From the light source to the left of a bit of a shadow being cost. You don't really get too many, too many shadows and what have you ever that side, but certainly you do. Getting really dark ones here. It's more than you actually reflections of the water, I think that will create a bit of darkness and there, but of course, on the right sides of these buildings, you're going to have some areas of darkness, which is what I'm trying to indicate through this as well. Of course, you know, wait for a bit lighter as well until you actually have your watercolors out. You can put in some of these, some of these steps in there too. There we go. We've got one boats that independent I was using. This one. Little bits. Just Hatch hatching. A little bit of darkness. The little window here. Hatch in the back as well. Little bit of extra detail underneath the butt. Extra detail. Let's have a look at this one now. It sort of comes up like this. Then the grand go join that up, kind of goes around like a piece. There's a bit of detail inside the boat like this. Rooftop and edges like that. That's pretty much it. This actually comes around a bit more, but that's all right. This is going to actually be amassed two for later. And get that in, in some white gouache. Let's put another one in here. Like this. The back of it, this blue section and the cabin area there. There's the mass going up, the bit of shadow underneath. Let's make this one a bit more. I just want to extend out this shadow slightly like that. Any chance that you get to perhaps adding a quick indications of some shadows work quite well actually because it already starts to bring together the scene. It actually helps when you're painting some of the boats, you get like a bit of darkness even through the tops of the boats. Look at that. There's a bit of darkness there as well. Perhaps. Let's have a look. In the mountains. You'll notice there's actually a darkness around the mountains and kind of inside them as well. Even the buildings in the background. You might get some documents inside too. So let's add a bit of that in there. Some of it's made up and some of it's actually there may be dark bits. I mean, good, good. See if I can get in a bunch of figures. Figures nearby the boats. Figures perhaps Figures. Smaller one here just in the shadows as well. Near the boat there. Yet distance, little bit of a lie. It's simply just a teeny bit of blue often. The thing you want to make sure is that the figures I just small enough at the back because the two beak, you can have a problem. It's just gonna look funny. Even these two, they're probably slightly, slightly larger than I wanted, but that's okay. Kind of almost like the size there. Figure. Maybe walking in that side. Fantastic. They increased the size of them actually because these ones are too big. I think this sketching looks pretty good. Any other thing is again, these reads and things and plots out the front. We're going to have to redo them. And more sort of wet-in-wet work. For the time being when he had gotten the drawer OK. 10. Barmouth: Painting: So let's get started with the painting. For this one, I always like to begin with a light wash of color, just a light wash of really soft and wound colors, especially in the buildings. And if you just even just leave some of the whites on the buildings, that's fine as well. Just a little bit of that running through them. And I'm just the warmth through that section is gonna be good. Let's have a look at the boats as well. Look, we've got some colors so we won't even have a bit of red. That one just pick up the most obvious colors that you can find. I've gone a bit of red and then a bit of the blue, this one. Then I'm just going to bring this yellow ocher down the page, maybe with some burnt sienna, neutral tint to this mixed down a touch cut around the other boats that one's just want actually, there's not much to do. Cut around those bits and pieces. Let's go ahead and just drop in some more here. Good, good, good. I'm just using neutral tint with the the yellow ocher in areas. Create a bit of extra darkness. There we go. Just get that yellow in. Actually going to bring it all the way down the front and keep it more light up here. Actually. Maybe touch more vibrant. If some Watson here. We go right to the edge page, bringing some more yellow here on this side. Plus bit of that neutral tint like that. Good. You're going to find as well if it's just bits and pieces here that we might need to bring out afterwards, just the little shrubs and things. I'm going to go into the water, pickup, ultramarine blue, and drop that straight in maybe with a bit of cerulean as well, predominantly ultramarine. And I want that to mix in with the sand. Really want this to be quite dark. So I'm picking up vivid of that ultramarine, just dropping it straight in there and cut around these boats to get it to mixing nicely with the sand like that. Going in. Let's cut around those bits, some pieces, they're going around those buds like this, leave the whites. Can even leave some imaginary bits and pieces for boats that you could put in afterwards. Let's get in some more actual blue in this mix it started and look a bit too perfectly or something up and back around. There are these white bits of the button. We're going to be quite crucial for lighter. Join up. The mass on top. Also work a bit more. Let's pick up some neutral tint and I'm just going to drop a bidding for the water, just gathering a few little waves or something in here. Just drop the test take some of it will come towards the shore. Some of it one, we're just going to feather in perhaps like this around the birds that should be a bit darker in there. This will blend hopefully quite nicely. These little bits of neutral tint actually helped to create more interest in the water Toronto ever do with just putting a few like that and then let it go. The background. Let's put in some green for the mountains. Just a little wash of green like that. Joins up with the water as well with little one not fast. But keep it fairly light. Gonna do the same thing over on that other side, just dropping green around the mountains like this. Good. You'd feel it's missing mixing into the water too much. You can drop in a bit more blue in here. The back like that. And it should recover a bit more. In the sky. It's time to put in a light wash of color. And I'm just going to use cerulean. Go to color. The sky washes. Bring this mixed up to the top like this. Then just feather it down nicely. The way. Fantastic. All right, we'll give this a dry. Everything has drawn quite nicely now and I'm just going to be looking at putting in some shadows for some of the buildings. Mostly gonna get in the backgrounds better as well. So I'll start getting actually part of the backgrounds, greens. And what have you say? Just using a bit of, Let's think a bit of undersea green here. I'm going to simplify this and I'm just going to add it in green, perhaps a bit of blue in here for the area behind the houses and get it in more efficiently. Didn't want to have used most sometimes this grayish, if you've got a bit of a grayish color, There's Bolsa, it doesn't look all the same color. And because there are these kind of rocky areas inside, actually drop that in and these mountains are gonna be quite sharp against the sky like that. Drop that in. Let's just find a way to cut around all these houses here in the front, which in the light like that, a bit more green in here that bring that then with the mountains here run in the background. You want to add a lot more water than you have. Painting this mix, sort of dull it down, make it look like it's further back. Using a lot of wash, it has to be larger than what you've used there. We added in another 30, 40% water. That makes I think that should do the trick. Just mock a little bit so it's not all too straight. Destic. Again, let's start working on that left-hand side here. Bit more green. Stick, grayish bits and pieces we can just color in some of the rooftops that as you can see, some little rooftops that and then this one is well, coloring this little, darken it down. Some shadows in this area. I'm just going to pick up a neutral tint. Shadow and the shadow for this building. Yeah, so the right-hand side like that get a bit and running through there as well. Just a bit of darkness that's actually a little bit of grayish color. Years. Well, it helps to also just bring out the facade of that building. Those ones at the back, we'll just drop in a bit of paint. If we look here, I'll put in a bit of color for some of the boats. Lost that red in there. So I'm going to just pick up a strong red and drop that in like that. Really strong red. That boat is also a little bit of red on this one boat. Just at the base. Getting a bit of that. Do we have the rest of it is just bluish colors. A strongest sort of blue ultramarine That should do. Ultramarine in there like that. Green at the top and just blend it in. Here at the base of that. Let me, most of the boats are actually just white. They're out there but actually changing some of them up a little bit of color in there. This one. I'm going to just go down a little bit and add a bit of light blue right-hand side like that. I've been a bit of darker color at the base like this as well. For the Southern boat. Destic. The figure is somebody who shadows would help avoid Eden, painted some ruins. I mean, before. You can also just a bit of a play with these little shadows in there as well. Good, good, good, good. Some of this stuff up here. This is gonna be interesting. I'm going to grab myself a little fan brush, pick up some of the leftover bits and pieces of the palate, mainly just the yellowy bits in and I can get in what would, might look. Some of these little drops just growing up have to actually use a bit of quash later, I think, well, I can even pick up a bit now because these top bits here, they join up with the water and they need to be a little more. Just stand out a bit more. These little brushes help if you don't have one of these, just use a liberal round brush and you can do the same thing, but it will just take you a bit longer. So these are the kind of sharp contrasts, but tonal, the tonal differences are not huge actually. But because the sand is sunlight, you're definitely going to find that by putting in these little shrubs, they do stick out, quite obviously. Change it up. Of course, like make sure that the jobs coming from different directions and kind of thing. This here in a bit here at the base. Let's get some more on this side, larger strokes or pick up more paint and see if I can get in a few in one go like this, longer ones like that. The paint is pretty wet area as well, just using a lot of it to create these little strokes. Indications of grass. Here. This is all wet and dry, wet and dry technique and then good fun because we've got a lot of Witton wet techniques at the other end, to some other bits and pieces. Some difference. Brushstrokes is certainly going to help. Also pick up a bit of darker paint and drop it inside as well. Just in some areas, perhaps the basis of some of these jobs where you might get a bit more contrast, there will be that o to the left side of them. Does help. Just picked up a little bit of lunar black, greenish, some of these drugs coming up like this. I think that does the trick for the shrubs. I'm gonna go ahead and add in a little bit more darkness up into the mountainous region at the backhoe use of flat brush just for a different kind of brush stroke, really. Getting some maybe some darker bits in here, pick up some brown as well, mixed that in. Yeah, My goal here is just to change it up a little bit so that it's not all the same tone of the same color running through this second little thing like this. You'll also do a bit over here on this side, the mountains here in the foreground just dock and that off widely. The distant ones appear more distant. Colored the base, more color at the base. I might put in a few little quick little soft brush brushstrokes. The water to indicate some sharp details. Too many, just a few little bits and pieces like these sharp waves or something just running through the water. Two obvious, running in the same direction. As you get up the back, you'll find that the waves becomes smaller and closer together. Using a little flat brush for this. We're almost done. I'm just going to finish this off by putting a few mosques in with some white wash squeezed out of the palette. I'm gonna be using a rigger brush. Let me just grab it. We get brush, some water mixed in. Okay. Just to activate the gouache, pick that up. Let's have a go. We can probably let me stop here and move my way up. That one. What I'll do actually, I'll give this a dry so that the water doesn't spread into the back. Little bit of white gouache. Brush a bit wetter, drier. Mean, There we go. There's one can even put one in for this one. Not even a bit. Something like that. Yeah. Get warning for this boat. This one is in, but I've not done the base of it so well, so I may just increase the size a bit, a bit like that. One. Here's another. Here's another. And if you do this pretty quick as well, you'll find that they look, I find that they look better. Spontaneous bit more life to them. Suppose some here in the background is a little ones all the way back in the distance. They often they just connect these bottom parts of the boats like that. Go any pizza that you feel you want to add in or highlights a great time to do it. And with the wall, she can just recover some areas of white, even on the buildings, you can drop in a bit. Just like this. You can see not really gotten in all the white areas of these buildings. I've left some white areas, but most of them are actually kind of a yellowish color. Not going to color them in white again. But now thought might just put in a few little highlights in here. Where I can maybe some of the buildings at the back we can cause get away with it. Just so small. And they're just a lot of time you just implying detail, giving the illusion of detail rather than drawing the thing that's one. Just having a look, what else we might be able to indicate. I know the rigging sort of coming out with some of these boats to see Mike, Good luck. Lines coming off like that off the top. One might have a bit more clicking on it. Change it up and of course, on something that works for you. But it's kind of like also seems to be tied to the ground or something here. It's amazing how a little bit of gouache can just make a world of difference really seem like this. Imply little details. Sometimes it, yeah, just, just trying to get in this little indication of these little bullets and the water that the boats are often connected to a times actually like a different color. Get a few of them running through the water like these. These also act as little highlights in any highlights. You can get in some birds some quick little v shapes in the in the mountains like at the back like that. Another thing that you can do is stop putting in some little bird's eye in a dark color so I can pick up later neutral tint. For example, startup here, getting a few. Hold that brush closer down. Control goods just flying around. Base them apart so that they look more natural. Sometimes they are on, these flocks are very solo. Just don't, there aren't. Good. Mixture of them is nice. Likely want to completely populated the entire sky. Heading a bit of color for these figures. Sometimes you realize you miss out a bit of shadow, so you can go back into it and redo it. Do that shadow in their backs of the boats. Going to be nice, little darker like that. Sometimes a bit of darkness underneath the boat also helps to anchor them to the ground. So things like this underneath the boats, especially closer to the front. I really, I feel like doing at the moment is perhaps getting in a sort of indication of the sales reflected in the ground too. Just attempt that. I'm just doing some little little shadows for the mosque so you can see little ones on the ground like that. I knew little shadows. I can pick up the beautiful Washington and drop, drop some of that in the water to act as indications of the reflection. Let's have a look. Little member afflicted select that tends to work a bit better with the ones out in the front, the back, they don't really reflect like that. Say get too many of those. Maybe just a little something at the base like that perhaps, but I don't think you really get much. It's more the ones closer to you that you'll get a bit more of the reflection, some more consistencies and it's running through here as well. I think perhaps some little bits of gray or something in here that would be nausea dry off the brush and just see if I can get in some. It's a seaweed or something just washed up on the shore. Like that. Not all too. Brought something like that. We are finished. 11. Beach Boats: Drawing: Okay, so we have this scene here of a couple of boats on a beach. And I think this is a really good exercise to get in some closer up boats. It's a different sort of seeing where the subject rather than a person, more of a boat and the landscape is little bit more subdued because of the focus on these boats. We're going to go ahead and draw these in. And I'm thinking out a bunch of pins, 0.50.6, perhaps, perhaps a 0.8.3, even here in a couple of little flat, flat, flat edge liners as well. And I'm really just going to go straight into it. One of the things to remember, I always start off by using a thinner pen, so I'll use something like a 0.5 or 0.60. Begin. Let's go ahead and give this a go. I'm going to put in the horizon line roughly around here. Let's say about a third of the way or just above a third of the way through the page. We know that it kind of goes around about there and then stops. Now this is the interesting part. Getting in this larger boats, I always like to start and bigger and then move my way down. Okay, so let's go ahead. Firstly, let's get the back ground in first or just the edge of the water. Again, this is about probably less than a third of the way through the page. Just wet. The water touches the sky. So just a quick little line like that. They just said because this is going to help us to decide where the boat finishes, especially the top of the boat. Going to start off with the easiest bit suggests the square onto the boat on top. That and we know we've got a kind of side edge to it. We know that it comes down here. We've got a bit of shadow coming across there, but it just pops directly down. Let's have a look here. Just where the roughly where the Sandy's that's about where it finishes. So we've got an edge of the boat that's coming across like here. That's the back-end of the birds. We can go in. And this is where you can use a kind of broken edge line. First just to get in really quick indications. We don't need to get in much detail here at all. Okay. But just to get in the inside of the boats and give it a bit more detail on the inside. Let's get into this side of this cabin, that right-hand side of the boat. Like this. I'm not too fast, especially if I go tiny bit too wide here. There's no big deal. As long as it looks like a boat and I can retain some of that original structure. I'm fine. So it's the top of the boat, the rooftop. You have also a bunch of windows is one here. You can see that they touch here as well. So there's a three, you have three windows right here. They join up all the way to the edge of the boat like that. Let's have a look now. I know this kind of comes down more inside inside the boat's going to be to that inside part of the boat. We know this comes up all the way up to here. And it just goes all the way up like a roundabout here. That I like that. And we want to finish it off somewhere at here. The way down where the sand is there, a halfway through the sand where the boat is anchored in? The sand? Bottom lips on the boats just been sitting there for awhile. Okay. Attached by a bit of rope down like that. Let me go just a little bit of detail and I'll get in the edge of the other side of the book as well because you can kind of see it down to just work a bit of that. That's the great thing is well is that you do have these lines running through the boat like coerce, these planks of wood. So take your time doing this and following the direction of the lines, look at where they sort of start and end, goes up and then it comes down to the back. They're going to go in and getting the backend of this boat. Now let's see. We go probably bring it down like a bat. Just connect that up a little bit like that. I'm just going to bring this. All the way across this line, all the way across. And you can see go up, all the way up and dissipate on the other side. Remember on the ground there's a lot of this. Stand as well. Just gonna go keep drawing Another one, another line, just follow the same direction as the other ones. You do that you end up with a nice little pattern. Looks like the wood that the boat is made out of. So that's one of them. You can also see within the board there are these structures that looks like I'm not really sure what it is, but I'm just putting in a few structures. This is going to represent a teeny bit of light. Reflected. Makes good sense to put these in because we're going to have, of course, the light source coming from that left-hand side. Go ahead and draw a few little objects, bits and pieces in here. I tend to also do a bit of hatching if I've got a time as well, a little bit of hatching like that. Having a quick look here into the back of the boat as well. You can also see this. Just see there's a few bits and pieces near the back of it. Little bit more detail. Fantastic base. Metal railing also on top of the boat that's just connecting up here. Disappearing off your client as well like that. As well as little bit any sort of internal bits of the boat as well with so we're trying to just get in a few little bits and pieces in here. Essentially. What I want to do, we can actually put in little bits of darkness inside for the windows as well. Just start to draw around and around inside the windows. You can see how some of them are dark. But then there's also a bit of light inside as well. So you don't want to follow them all in. But you just want to imply perhaps that there is a bit of variation in tone for the Windows. There's a few bits and pieces on the rooftop of the boat as well. We can see this kind of antenna sticking out like that. I'm going to just work on getting in some of the details for this. Just a little bit of detail. Nothing, nothing much Fantastic. Let me just put in a little bit of railing. Here's why not. Let me a little bit of detail here. Counts. Somehow it all adds to the final scene. If you, if you work on a bit of this detail, you find, you find later, especially that it shows through in the end, the end result. Fantastic. I'm gonna get this boat in behind. And let's go ahead and, and sometimes it's good to swap to work on as well. So I might pick up a 0.3 and look at where it comes in, just around halfway point, this window, that red rooftop in the background. They're also looking to see how far it comes in. Right about here, I'd say halfway through the front of this boat. Great. Just get the rooftop of this one in this deck grants get this side of this bluish teal color, colored, but I mean, they have actually both almost pretty much the same color. Bring this one down here. Again, we can just work on the windows. I think the window is where these books are also quite important module because they add a bit of structure. I do like to patch a bit in here just getting some details. Little bit of darkness really. Anything to remind myself later, not to color in that section. We've got bits on the rooftop as well, just a little. Little bits and pieces like these antennas really know exactly what they are, but just bits coming up into the sky impact some of them go a little bit higher like this. You don't have to draw all of them. And just certainly just make sure we've got enough in there. Little bit of the background now for this, the front of this boat going out, then it's coming down and it sort of goes just behind the boat. In the front. We've got two of them, essentially. Fantastic. Let's look at a couple of boats. Yeah, that's looking pretty good. We know we've also interestingly got some kind of a shadow running across the page which we may be able to get in afterwards. Another thing I like to do as well is perhaps get in indications of some figures and look at where I can perhaps add some more details into drawings. So for example, I might pick up a thicker liner. I think to myself, I could add a bit of darkness in here. I've got a few different liners and some of these ones are really quite interesting because they create a flat aged line like that. That kind of makes things look quite interesting. And there's also the coastline of the boat. You can just have to include it really, but just try to put that in dB. Of course. I'm getting a little bit of that as well. I'm not a huge, huge deal, certainly, but it's just a little, little worm nicely, touch like that. I can go in as well and just start here where that red lip begins and then the black areas starts here. And you can do this in the pan, or of course you can do this later in the watercolors. I'm just feeling at the moment to do it in pen. But again, it's not a 100% necessary. You can wait until later. Okay? Just doing it quite loosely as well. It goes back into the other one in the distance and then you've got maybe a little bit of it and then coming underneath here as well, that really I'm just trying to find extra areas of darkness that I can indicate. Make things a bit more interesting so that it's not all the same. Line work are running through this whole mix. I mean, even do this a bit of detail inside the boat to you can, you can also see inside the back of the boat here, interestingly, even work on getting in some of the shadow. It approximates what is going on in the reference. You are good to go. You can even mix it around as well. I can just hatch away at the inside. Hatching just creates a slightly dark area, but what's more subdued? Little bit of darkness. And let's have a look. What else can we get in perhaps a bit more strength here for the age of that Assad of the boat. Really just searching, searching for areas that we can Nora out a bit more, create little more detail as appose. Now even in the back here you can see there's a bit of a lip, kind of like a darker edge two. And here we can even get a bit of that in the side like that. Little bits of sand and stuff here. You can just see it all going up against the boats. Beautiful sunlight even coming through here like that. This is actually one of these is actually a shadow on that right-hand side. Okay, boats. Then you should have something that approximates what I've drawn here. I know it's really just a matter of looking at whether you want to put in more detail or whether you're happy with how it looks. That is really up to you. That's your, your code and make. Let's have a look. What else can we potentially add in here? So I'm actually thinking, how about we add in some figures. Don't have a reference, but I can just scribbling. That's a figure here over in the background. Just having a walk around on the page. For example, just one leg here and then we have the other leg kind of going a bit towards the back like that. Here. This is going to be interesting so we can actually getting some little details of this figure, kind of walking around, shadowed, running to that right-hand side. We might have a couple more here and be careful with the scale as well. You want to make sure that it makes sense that the figures aren't too large compared to the actual boats themselves. These ones here, just maybe standing next to each other. The links down like this. Of course that the shadows are coming off like that. I'm just trying to indicate the direction of the shadows to that interest. Actually, the water comes in a little further up like this. That's fine. Like that. It's not always, it's not completely straight. Discussed. These two people may be, for example, just talking about something. Maybe this person's holding a bag or something here. Pretty simple. Hussein, let's have a look. What else could we potentially add in trying to think of putting like a hat or something on that one. See how we go. Capitals something for this figure. Indicate that he's kind of facing these both sort of facing each other. Like that. Picking, picking out a few little details that we can potentially add-on and draw more attention to. Want to create a bit of darkness in here as well. Inside the boat. You can also add in details off which don't feel like you have to get the entire drawing in at this stage. You can actually wait until later. And of course, finish it off. Finish it off once all the watercolors in. But I do like to get into a nice little drawing where we keep going. Here's more figures are, I do want to have another figure actually just walking into the scene in leg, just chuckled, going backwards like that. Remember this is all just sand here. This little sand and seaweed all washed up on the shore. But this boat, especially you're going to have a bit of sand. It's just against the bottom of that boat there. You can see how it's kind of like waged into the sand. I'm trying to get in just some little scratches here in the on the ground as well to indicate little bit of directionality, little bit of gentle perspective. You can see the lawns all running towards a vanishing point roughly here. Enjoying a kind of an imaginary dot off the edge of the page. Then connecting all those lines to that dot in a kind of basic, rough fashion. It's not, it's not perfect, but it just gives the scene a slight feeling of depth. Even just these lines being in here. Course we've got little bits and pieces. Rocks. Rocks are great as well. That's another thing. Having a rock here, creating a shadow running to the right reinforces that light source. Don't be afraid to try to invent a few of these. At times. I mean, it could be seaweed or it could be rocks. I mean, you just never know, but having a bit of that shadow running through and it also helps to break up this entire scene. So we've got a bit more detail, a bit more interest. Essentially. As we get to the back, I tend to just simplify things down a lot so that it just looks like it will be just seaweed or something on the shore, but I'll always in the front you can get away with making some larger ones. Helps to again, aid with that perspective, that feeling of depth. The same. As you move towards the back, just reduce it down. That's what I'm trying to do. Human just wanted to create a few kind of rocks perhaps that are overlapping with each other like this. And keeping them spaced apart a little as well so that there's some variation to put together and planned out. When it starts looking to need at times I just try to scribble the bits around the area. I think that is good to go. We can actually start the painting now. 12. Beach Boats: Painting: I'm going to go and pick up a large brush and I want to get in a quick wash over this entire scene. Of course, we do have bits and pieces of light here in the background with a water is. So I'm just going to have to be a bit more careful. The washing, the brush strokes. So I'm going to leave in a few goods with the white on the paper. And I'm going to go through, Let's get in some kind of I'm gonna go with a bit of a lab in depth perhaps for the sky, just a lot wash of lavender. Maybe some cerulean. Just go in. Very, very light wash. Finish it off here. The great thing about these brushes is that you can see how much water they actually hold. It's fantastic, simple and effective. Just a simple wash like that. I'm flat washes. Suppose. Now what I'm gonna do is I'm going to continue the whole way down. And I'm going to start adding in some ultramarine blue, which is a doc, a very dark sort of blue. But on top of that, I'm also going to add in some some ruling in blue. Just a combination of both of them. It just makes it a little bit more subdued. Let's have a look coming up on the back end like that. It's actually quite dark. I'm going to just blend that in with the sky like this. Create a bit of an edge. It all the way in the back. And if it fades off into the distance, That's actually a good thing. I do want a bit of that to fade. Create a soft edge. Wanted to be a bit softer than the actual reference. Let's go in here and again, we can actually pick up at some more of this paint, drop it in our mixing it with a bit of neutral tint as well. And you can just drop in some of these dark bits of be careful is we'll try to cut out around the boat if possible. If you see look at that. I'm just leaving in I'm going over the top of some pots to create some wave-like effects. But I'm also leaving some of the whites on the paper because that's going to save me some work later with the gouache and not having to describe everything pulled away. That's what I'm talking about. You just leave a bit of that wash and try to make it the water of the ocean, I mean, but you just want to make it pretty randomized. You do a bit of cutting around the boats. Just leave a bit of the white of the paper. We'll be fine. Keep continuing down again, go back into that wet area and again drop in a little bit more of that. This bluish paint. I've got a bit of a darker, neutral tint mixed in there as well to just darken down that blue. As we come forward more. I'm just going to lighten this, mix a little and add in some cerulean blue. Here. Just gets a little bit more lighter at the front. This is going to dry significantly larger as well, by the way. Yeah, leave a bit of that white on the page. It's so important to do this to indicate those little waves. Alright? What kind of at that point now where we are at the sand and I'm going to pick up, have a look here. Let's pick up a bit of pickup, bit of yellow ocher. I'm going to drop that in. Now I've haven't really done much mixing on the palette, but you can sort of go in here. Basically just mix up a nice little puddle of it. Now I'd like to get it to blend a bit with the water so that there's a softer edge in there. That Let's just get that bit to blend a little. Coarse sand actually comes all the way up into the boats like that. Notice how I'm just leaving the boat at more or less unpainted. I'm going over everything else with this kind of warmish color. I've got a bit of orange in here you can play around with as well. I've got a bit of burnt sienna. Why not just play around and get into a few different darker tones in here too. Especially on that right-hand side where we're expecting to be more shadows. Of course near the front is also a good idea to stop putting in little elements of darkness and some parts because it's closer to us in the foreground. Helps to bring it forward. If we have some extra dots in there, Let's have a look now I'm going to swap to a smaller mop brush and go into the boat. I've got some burnt sienna, a little bit of burnt sienna. Let's drop some in here. Some orange as well. Orange and burnt sienna so that it's more vibrant. All the way up into that area where there's a bit of black and the bottom of the boat. This is gonna be interesting. I think I'm going to just go with dark color hue. This is a bit of lunar black. The base mix that in create a soft edge here. Well, it's still fairly transparent. That's what I wanted. I didn't want it to be completely black because actually, not too dark isn't really, really dark. Black because you're going to have a bit less sun heating the solid of this book like that. I'm going to do something similar to the right side of the boat pickup bit of orange, warmer color in here. Kind of struck they didn't like that. Good. Leave a bit of light on there too. Let's have a look into the boat as well. I always like to paint as much as I can in one wash if possible. So if I can just go in here perhaps Doc and this inside of the bolus get some more blue mix that blue with the neutral tint. Just get that shadowing for the side of that boat. I can do that. It saves me time. So I don't have to go back and do it again later. Same here you can actually just create a bit of darkness on the right-hand side of this button. I'm just trying to gray it down a bit. So basically added in a little bit of brown in here. Trying to create some little bits of darkness. Remember to cut around those lots of bits in the boat as well. Leave little bits of lots in here. That's a bit of darkness and years we'll look bit of darkness and connect that on that. Great. I'll start doing this thought of the board as well for the little one on the background, the light sources coming from the left-hand side. Okay. You see some of the boat up through there as well like that. Good. Good. You remember to leave that left side of it lighter. Just drop in some more black bit of darkness into the base while it's still wet and you can do this kind of thing. Sometimes you notice that perhaps it's not dark enough, so you're gonna have to reject it and alter it while the paper is still wet. The only way to do it really boat here. I'm going to drop in a bit of darkness as well like that. All right. Great. Just having a look. We can get in a bit of light blue on this side of the boat, the left side of it. Like that. Just putting in a little bit of it. It's kind of the ruling in blue, turquoise see, blue. And then it actually turns to wear blue in here, which I'll soften it off and try to get that in like that. Good. That's a bit of a warmer color on top like an orange or something that's just dropping a bit there. Here for this part, there's kind of like a warmer color. The full boat in the background. You also get the same, similar sort of pattern like that. They kind of bluish, light bluish tinge and then we got to warmth on top as well like this. What are this is just painted wet into wet. Let's put in some colors for the figures. I've got. Let me put it in here. It could be green or something. That maybe a bit of ridge with this one. Next to the water. We got maybe a bit of yellow for this figure here. Just some complimentary colors where we've got blue and cool colors in the background. Let's put in some warm colors for at the figures in the foreground. When they start looking maybe a bit too bright, you can actually download them down. You've got to be too much of that going on. So I balance it a bit more bit more of the legs in there as well. Just a bit of darkness for the legs. You can actually leave the legs. Here are a bunch of rocks and things as well. With the rocks, I'm just going to add in a little bit of darkness in there. That red and dumb do you touch of red for the faces? Into the body touch. There's also a bit of red here. I forgot to get in the top of this boat. Little bit of red is well, most subdued. Of course. I'll give this a really quick dry off. Okay, so now that that's sold drawn off, we're gonna go in and get in the final shadows of the scene. And for that I'm gonna be using mainly, mainly a couple of these little flat brushes because they just make sense to getting the shop sort of longer shadows that don't have much of variation in the edges, but you can use a little round brush like this one as well. In fact, I'm just going to try out the flat brush first and we'll see how we go from there. Going a bit of Luna black here that I've gotten mixed up. I'm gonna put in some purple mix that in kind of a purplish like downtown purple, I suppose. It's a full tone. It's very little water in there, so I'm just having a look. How it how it looks. We will have some shadow is running towards that end like that. And in fact, they kind of goes back further like this as well. And we can use this to create a bit of darkness on the figures two, it's actually pretty dark and needs to be more than a little bit more than that. It goes all the way like that. Lot peeking through here. Then this one just joins on like that. That you can sort of dry brush spots of it on to connect up the shadow with the figure's a little so that they just look like a slightly in the shadow of this this part of the boat also needs to be dark and down, just a little like this. Nicked up with that shadow. It's better. Let's have a look. I'll probably go in with this round brush and putting little shadows for these rocks, perhaps running to the right-hand side as well. Little bit of darkness on the right side of these rocks like this, like that. Then there's a bit like that. Even this man of sand is a bit of just a little little bits and pieces in the sand. They kind of like little bits of detail really. Footprints. Inconsistency is really you've got these rocks, bit of detail on the right-hand side of the rocks. And the shadow is following these perspective lines that I put in the fall. That they helped to create that sense of perspective, depth from the scene. One hand, you're creating shadows and on the other hand, you also using those to get a double effect in helping increase the feeling of perspective. Do you get these little lines that come through the boat as well? So you can pick up a little bit of dry paint and just basically draw your paintbrush if it's too wet. You can just kind of getting some broken lines running through the book like this to indicate some extra details in the boat. Sometimes you need to do this because in the initial drawing you may not have had the detail they see kinda go to make up for it here where you might have some extra. It's in bulbs to add in a bit. Here as well. Darkness. Some figures on the left thought as well. Of course, and shadow joining on that boat as well as important. Little bit like this, they're choosing I'm trying to not go too far into the body and just going like this more. I think it gets some of the hearing, but apart from that, I don't really want to touch the bodies of these figures too much. Leave them exposed a bit more to the light. Fuse like Catholic, they completely sunlit. Course on the ground again, these little perspective lines I have chosen not to go. With that there is a shadow coming in and I don't like the angle of it, so I'm choosing not to go with it. I'm just going to use these perspective lines. And I think that's going to look fine actually. At this point we are almost done. Really. It's just getting in the really dark areas remaining and I'm mixing up a super dark mix of neutral tint. This is ball, some of these final bits and pieces. So for example, this part of the boat, I know that we've gone through there with the darker pen, but you find that actually it's not To doc. And you can go through and just further emphasize the emphasize in bits and pieces in here because the really dark areas in here going to create little bit of contrast. That's going to look quite appealing, but you just want to use this to kind of touch and go in areas you don't want to spend too much time in the defining everything. Just let me be a little bit there. In here, for example, like that. That, that you have a bit of reading and stuff of the boat as well. You might want to indicate like this. Draw out some final contrasts on the boat course, maybe a bit and running down like this. Opportunity to get some of these staffing. Because often you do lose a bit of that. Contrast. It brings, it really brings forth the light in the scene. I said Tom De Mont even think the shadow here on this boat, perhaps it's two To lot and you want to increase the contrast so you can do that as well. I can just go in there and just color it in. Yet again. That cut around the same only bits and pieces. We've got a bit of extra contrast. We can do it here as well. That these are really just the final, really dark tones that we add in the rooftop like that. Sometimes you get little bits of shadow underneath like that. All the windows, slides of the Windows, their pieces in here as well. Of course, this rigging not really implied too much of these, but some extra darkness in that rigging as well to bring it forward, gotten in the water behind it, but that can just be like a wave or something. Bits in pieces. The legs. We'd like to just get the legs in Doc or on that side as well. You're gonna do lakes, for example, these ones, I was going to leave them completely locked, but I'll drop in a bit of painting there still. See what happens. Then. Look, you've got just trying to find I mean, even in here inside of that boat, tiny bit of darkness and they ask him to help. Pretty dark in that boat, but you need to go over it. Just double double take kind of thing. I've been in. Just a bit more like that. See. Good. Last step really is just to get in a little bit of white gouache. The only I keep a small tube of white gouache with me. What I do with this whitewash, I tried to bring out some highlights, maybe on the shoulders of the figures have been on the rigging, bits and pieces on the boat. So little round brush, just pick up that goes straight from the palette. Maybe at Tom's getting a bit of water in there as well just to activate that gouache. But for example, I mean, there could be a bit of highlights that you could add in here just for the cosine of the boat if you want to bring that out a little more. Okay. What else could be do I mean, there's a little bit of white here in the bud. Sometimes you do get little lights that run through as well. Just get caught by the sun slightly like that. So this does help to bring them, bring some of that little bit of that sunlight back into the boat like that. The trick is to just use this pretty sparingly. We can bring back some of their aims even though the windows just I'm drawing with a bit of gouache and so it is with a beautiful wash. On top here. I'm just going to connect these bits of rigging kinds of things really running through here, but I'm trying to simplify it down. Catching the light like this. Going up like that. Some of it you can emphasize a bit more and some of it you just go to leave. Be careful. Moving years. We'll just bring out the tip of look what else we could do. The figures maybe get a bit of light on that left side of them, the head and then the shoulder like that as well. That helps to bring them forwards. Basically imply the light source coming from the left. Little bit of that inside the boat to indicates some detail in a bit more 3D as opposed. Let's have a look. What else have we got? We might have some birds, like some of them just hanging around near the water at the back. And so because the water is quite dark, I can put in some little v shapes like these full C goes and things just traveling through the scene. Did the trick is to make them meet some kind of spread out a bit and not too similar in size and change the direction of their wings as well so that some of them are flying off in different directions. And I'd done yet because I've got to getting the ones rod at the back. I'd pick up another Let's pick up another brush with some darker paint. Because we're going to have somebody here in the sky too. So like these help to actually connect the sky a bit with the rest of the scene. And again, be mindful where you place them and keep them quite random looking as well. Near the water like this. Yeah. That last bit is just finishing touches really. It's nothing else. Just little finishing touches. Texture on the boat. Just a bit of dark and texture. Sometimes you want to think of a bit of texture in the sand like this. And I'll call this one finished. 13. Beach Figures: Drawing: Okay, so just get that pen and draw a box. You don't have to do it. I mean, you can just paint and draw directly onto the page. But I like having a bit of a frame at times. Go from using one to not using one, takes a little bit more time to put it in. It's kind of interesting. It actually forms nice contrast with the painting. It's almost, it's almost like having a profit frame, but this is just, it's in my sketchbook. I feel that this helps to give it a little bit more of a refined finished. Now, like I said, there's really not a whole lot in here in terms of the actual landscape itself. We have the horizon line all the way up here and the distance. Okay, I'm going to just put in a little quick line like this. All the way across. There we go. I would've put like a tree line that just comes all the way down. Just disappears off into the distance here. Little bit of that. That's just gone all the way down. Of course we have some bits of the beach and you can see it sort of just coming. There's a bit that larger sort of B that comes in, strike from the front. You can see it just sort of coming. I'm using the side of the pen to scratch in little indications of where the water meets the sand as well because I don't want it to be too obvious. You can see it all coming in there into the background and here as well. Pretty, pretty straightforward. Okay? One thing you just want to make sure you get the front waves that come in just a little bit larger so you can see it just extending out a bit further. And say some of these other ones which are smaller than the distance. It's always a feature that you have to make sure you get right. So the waves and objects, everything appear smaller in the distance now, because we want to make the scene look I level in the area look flat. So basically just from an higher-level position, you're not above or crouching down. We're going to put all the figures heads on the horizon line, which is just this line over here underneath with the I'm trees and what have you asked? I always like to get in the figures at the front first, I'm going to try and work on this fellow here. Now the head is somewhere around there. I'm not gonna be too precious about it. Just a bit of a rectangular shape for the head and I know we can put it in the shoulders like that. Got a bit of his hand coming in. We've got looks like he's holding onto some kind of jacket or what have you you can see his arm just going all the way behind, holding onto a bit of a jacket or something like that. I'll get you in the bottom of his shirt somewhere here. In the left side of his ****. I'm just going to lift arms. Here's Well, it's holding onto what looks to be a couple of shoes. It doesn't matter what you put. There could be a bag even that he's holding onto. You can even change it. So I might put in it could be just an indication of a bag or something. They're just walking through. He's holding onto some kind of bag. Putting the shorts as well. Just look at it as kind of like a rectangular or square like shaped like Please just draw a square like shape and you can see the sun come across. You're going to get definitely a little bits of shadow. I'm cutting across his body. Hey, on that right-hand side. So a lot of darkness on that right-hand side of our body like that. And of course you're going to have to get in the legs. So this one's going to come forward a bit there. And of course the, the actual foot and the guy's foot and zoom in a little bit just to get a bit more of a closer look at what's going on in it. And it is other foot is just behind, so it's just sort of pulling behind a bit like that and maybe pointing off to the side there. Just coloring the bottom of his foot as well like that. Might also just getting a bit of that other one behind. There. We go. We have a little indication of this man and look at the hat on as well. It's kind of coming out to the side like that. Let's get the something like that. But of a hat. The hat like that. Pretty, pretty straightforward. And again, you're going to have some shadow of running towards that right side of his face. Haven't got really any details there for RES Facial features only thing, I just want that to be pretty simple. With the figures in the foreground. You always have to make sure that you've got a little more detail than the ones in the background. So that's why I'm just spending a bit more time with this figure. And there we go. We have a figure in the foreground. I'm going to put in, There's a lady here that's kind of just standing off in the distance. She's standing sideways and you can't really see her arm. Um, but it doesn't matter because I can just make up. She's in some kind of bathing suit here. And just get the link to come down like that. Maybe go facing to that right-hand side like that. Maybe the other leg behind. Well, like that. Just some bit of hair like that. And perhaps I'm just extend it out one of our arms like that, so it's a bit of overlap with the figures. That's fine. We've got a couple there. I might put in a couple of figures here as well. There's a someone just walking off into the distance there. We can have another person maybe the head turned a little bit more to the left as if they are speaking to the bigger the position of the head is really crucial. It determines basically what direction the figure is facing and focuses attention on other parts of the scene. So there we go, got a bit of a bit of a figure. They're just standing on the side as well. And I like to just make a few things up as well. So if you zoom into some of the background bits and pieces, you can somehow also and pick out some other figures that you might want to put a teeny bit closer. For example. I might put in a figure here just off here in the distance. For example, maybe just standing here and maybe looking, looking around here, there could be some children or whatever, just kind of playing the sand, doing what have you. So I'll just getting the leg another leg here like that. Mckay facing to the left. Pretty quick. Bit of hair for this, for this fellow. And there's gonna be some shadowing in his back as well. All the shadows. It's good to just have a little bit of hatching in there, but you don't need to really bother too much because again, a lot of that will be done in the actual watercolors. Later. There we go, got a bit of that figure and then we're going to get in perhaps two small children here just to sitting here in the Sindh. Maybe with the little, with little hats on. Just kind of playing in the sand, doing doing something in here. Pretty simple. Pretty simple sort of could be like amount of sand here as well. And let's get in this little child here and maybe an arm coming out, stretched like this. They're they're often beaches. You see things like little buckets and bits and pieces as well. So you can also with that kind of thing and you could sometimes it's like a shoe or something just on the ground so you can have a bit of a play around and change bits and pieces. I mean, here I can put like one of these containers. Maybe it could be a drink and he or something like it drinks container on the ground. You might even think of putting in an umbrella. And umbrellas are great. And the reason why I like them is they imply a sense of shadow, especially in a beach scene like this with so much so much light in here, we do need to have some stock looking shadows from time to time. So we might, for instance, decided to put one here. Just beautiful. I'm gonna come off on an angle or something like that. Just kind of sticking out a bit funny. Then let's have a local just getting in the bottom part of it like that. It's kind of a triangle. Think of it as a triangle and a stick. Triangle on a stick. And get these little frilly bits at the bottom like that. And then we have it, we have an umbrella. This is going to cost a bit of a shadow to that right-hand side. So this is going to be nice and interesting already. Let's get in some more figures. And people at the back, for instance, could be another person here. And it could be a child or maybe just someone a bit shorter. Often the distance probably child there. Maybe just walking off. Sometimes you get people in in funny sort of poses, running or walking in different directions like that. Well, that could be good. Stretch there. Something like that. Gives a bit of animation to kind of directionality where these people are. I'm going what they're doing. There could be this person could be throwing a bowl or something that this person try to make them fairly animated. And at times for some of the figures, don't keep them all the exact same. Some people will just sit on the beach. So you're going to have, for example, I might just put in a person here, the head will be a lot lower because they not at eye level. So I'm gonna put this person's head almost around waist level as they're sitting down. They'll just get in maybe an hour or something. Coming forwards like that. Just sort of sitting here on the ground their shorts and put a Leg outstretched as well. Foot, the back leg that could be drinks container behind this person as well. Just put some hair on that person too. This is really good fun. You can really do a lot in here and practice your figure drawings. Just give it a go. Don't be worried. It's going to turn out exactly. Just have a bit of fun. I might even think of putting in kind of thing here. I mean, I could put in a larger logic figure, just walking in here through the front, a little bit shorter than this person here. So really trying to get the heads up on the horizon line, but just didn't want to go too far up in the back of a figure. Maybe he's belt or something like that. Not a belt, but maybe it's maybe this person is just wearing some shorts. Are some shorts like that. And we'll just have to get some legs and came There's a leg. There. Have a little look. And when you have a reference picture with so much going on like this, the great thing is that you can zoom in. You can pick out figure that you like. You can just use that. You can just use that where you pull your drawing as well. Oops. Let's try to make sure I've got these legs. More. Even, even kind of looking more like this. When you have them make a mistake. Don't beat yourself up for it. Just continue on. And you would just continue on. And basically, later on in the watercolors, always remember that there is an opportunity to change things up. Okay, So this food is probably a little bit too large. We can get by, we can certainly get by. We could have a T-shirt on just getting, get some arms in coming by side. And this could be like here as well. Already, we have an indication of figure moving into the scene. I've got all this action going on and look at how it all just unfolding from a scene that is actually pretty complicated. We can simplify down, pick up bits and pieces, eliminate some of those figures and keeps some of them as well. Kind of just thinking what else we might want to put in here. I think this should do quite okay for the drawing. We'll start on the painting now. 14. Beach Figures: Painting: So with these top of each scenes, I always like to get in the areas of light and especially the warmer areas first because once we start introducing some blue for the water, you find that it can wash everything out. So what we're gonna do first, I'm going to pick up some yellow ocher. Yellow ocher is the color that I use mostly for sand because it's kind of a dull down yellow bead in here like that. And be certainly and uses a high concentration of it as well. Don't be afraid to add a bit more. There. I'm just going to drop that in like this. I'm using probably about 50% water and 50 per cent paint. It's a fairly thick mix of paint. Coming around that figure as well. Sometimes I might have to pick up another smaller mop brush. This is just larger mop brushes. Remember where they are and just trying to get in some color. We're not actually trying to get in any detail or that kind of thing, just little bits of color like that around the biggest TEA as well. Then we're just at the edge of the water with the sand touches the water. I think that's a really good place to sort of stop. And I'm doing this pretty quick as well. I'm not aiming for complete accuracy is just a sketch and an impression of what's going on. But we still have to make sure we paying attention. Still got some more sandy bits up the back of their sawdust, putting really light layer up at the back. We can also sort of spread that up into some of these areas here. I mean, this is really part of the the sort of greeny brown areas of the mountains in the background, but we can still go in like that. I've just picked up a bit of a neutral tint and I want to just drop in a teeny bit at the edge of the water because it's actually where the water touches the where the water touches the sin, it's slightly darker, if you can see, it's slightly just marginally darker. There we go. Now, just as quickly as I picked up the picked up the, what you may call it yellow, I'm going to pick up some of these turquoise see kinda color and drop that straight in. Chem actually going to pick up a larger mop brush. It's just gonna be quicker if I use the mop brush, it's turquoise. Color. Drop that straight in like that. I can also mix inhibitors ruling in there or a bit of ultramarine too. I'm just going to connect this up, connect up the sand with water. Let it, let it blend a bit. Blend a little bit more ultra marine and create a slightly more vibrant mix. But that's about it. You want to let it mix bit more vibrancy in here. Bring that down it all the way to the edge. Like that. You might even want to do this last bit here we see it's just starting to encroach into the sand. And then you can just drop in a bit of little bit of paint in there and just bring it across. The important thing is just to let it let it mix, mix and do its thing. You've been in the water here, you're gonna get some little inconsistencies. You're gonna get some waves and stuff. I'm just picking up a tiny bit of neutral tint. I'll drop it in there to form some waves. Put a bit of blue, blue mixed with neutral tint. They use that to just form these little waves and things in here. Don't worry about the white BTX H2S. I will go in later with some other bits and pieces, some quash. But for the time being, just putting in little bits and pieces in here, it really makes a difference. So the water doesn't look too flat little bit early, but we can also start putting any indications of shadows and not shutters, but literally reflections of the figures just running through the water. I'll just get a darker color. Just put that through kind of underneath those figures. Sometimes these ones will reflect as well. The further back the figures, the less of a reflection you will get in the water. Another thing I'd like to do is to pick up other bits of paint. I might pick up some brown, for instance, and just give it a bit of a tap on the page to get some texture for the basically in the sand, just something else going on in there. I don't want to overdo it, but just a bit, just a little bit of something in there. To keep it interesting. You can also do things like mix up a bit. Got a brush, a smaller kind of smaller mop brush or a brush that just be damaged. Stephen, you can get in just a bit of grass when indication of grass or something on the left and sometimes you get crossed that grows onto the beach. But it's very subtle. I'm just going to just get a little bit of this brown. Pick that up in the middle here like that. Something like that. Good. Just an indication. I'm going to go ahead and get in the mountains as well while we're at it, I'm picking up some green bit of undersea green. Let's just drop that in here. The background. What you can do as well at this point is also start picking up some colors and putting the mean for the figures and what have you. So because we don't have much blue in here, I think it's good to be using some of it in the figures. So I might put in a bit of a blue shirt for this person. Just to color. Running through the umbrella could be a bit of red and we'll pop in a bit of red, vibrant. So I'm just going to pick it up. You use a stronger red in there underneath the umbrella. I'm going to just use a bit of neutral tint, tint into the red just to darken off the bottom part of that umbrella. Umbrella still needs to be fairly light. I'm gonna lift off some of these red just tap, just put that brush on there and just lift off something like that. Getting some pants for this guy just almost like a pinkish color. I'm not fast exactly as to what it is. Just something you've been a bit of color for skin as well. I'm just picking a bit of pink and dropping that in. Pink there and there for the arms. We can go in and get these other ones as well here just a bit of a bit of color. You can also mix them brown in there as well. Depending on what skin tones you would like to imply. It's really up to you. And I'm on a variety of different skin tones and just the colors and all kinds of things going on in here just makes, just makes it seem look a bit more interesting. Some lavender color. This would be nice for the shirt of this person. We move down, we'll just pick up some darker colors and not really anything specific color. But then There's a bit of, again, a bit more red for some of the figures. Just pull it off, putting a bit of color there. You put the legs. A couple of children here forgotten to get them in as well. Again, these ones are gonna be pretty because underneath the shadows, it's going to just be dot-com under here. So we're not going to have a whole lot of detail and stuff there. That's starting to come together. I'm just going to go and again, work on this. The umbrella more again like that. Cut around the umbrella, I mean, dock. And in that background, I really want to create a bit of extra darkness there. As we move towards the right-hand side, we just want to soften this down a bit because we want to imply that it goes into the distance and if we add more water, it actually pushes that back into the distance. So I'm almost using 90% water as we get to that right-hand side. But up here, going quite heavy actually with the paint almost 60, 70% paint. I think overlay layer over the top of it again. Afterwards. This is working okay for me so far. I'm going to drop in a bit of brown and it's in pieces in here to keep it interesting, I'm going to be to brand it as well. The down like that. Then of course the sky, which I'm going to introduce a very light wash of cerulean. Very light wash of cerulean. Want it to almost look like it's not there. Start from the top like that. Let's move that across. We get down just water now, it's mostly just water, maybe 10, 20% paint coming down here. And this will kind of blend a bit with the mountains as well. That's okay. Looking good. More darkness on these figures. Well, it's going to start picking and choosing colors for the figures. I've got a little purple. I'll just drop in some purple for this one. That figure there on with this bag of both salts. Leave some of them. The figure is white as well. Like a white shirt or something. There's a few of those in there. This is looking pretty good so far. I mean, you can do things like outlines some edges of the water where it's sort of it touches on the land a bit. But apart from that, I don't really want to do all too much. It looks fuse like water already. When you've got the impression of that, you have to be careful because it's just as easy to lose that. And if you're not careful, anything I'm adding now just really soft brushstrokes. Give this a dry and we'll come back to it. This is all dry it off. Now. And the final bits are just put in the remaining shadows. Firstly, what I'll do is I want to add a bit of texture into the background, just a bit of darkness and a bit of layering over the top. It's really bring out some of these tree shapes. So I've got some neutral tint and I've also got a bit of that green bit of undersea green. And I'm just gonna go around and potentially just dry brush bits and pieces on. I want to also just create a bit more of a stronger outline to where the headland actually starts out in the distance. Bring that down. Please. Just darkening that background a little more. But remembering also to continue to soft enough as we move towards the right-hand side too. Because when I keep that feeling of moving into the distance, we can soften that edge a little bit as well. That's got a bit of a harder edge soften off. That should be fun. I have got another bit of neutral tint, maybe a bit of the other bit of brown here as well, just some brand drop in bits in some areas here. In this finding some docs in areas that might want to emphasize just gives it a bit more interests rather than being all the same color. And also use it to cut around this umbrella little as well like that. Drawer it out a bit more. There we go. Trees and stuff in here. One thing that you can do is if you've got a plastic card and we've got a sharp edge of some sort. You can also go in there and scratch out some details. I wouldn't recommend doing it too much, but just a little. Here, I just want to indicate maybe some trees, overarching trees in the background just growing upwards or something like that. It's just some little textures on it because it's all quite dark. You see having a bit in there like this, I believe, will create a bit of interest and make things give a few more lighter tones in there. Won't have to really paint them in gouache afterwards. Something like this. We've got the background more or less sorted. I'm gonna go and stop working a bit on these figures and I'll pick up really just neutral tint, pick up between neutral tint, Brown, bit of blue, mix that in there to get a dark sort of mix. Pretty dark. We're going to do this all in one go. So we've got the figure here for example, but his foot. Have a look. Maybe it got some shadow running across the bit of this shadow joining onto his leg and foot. They're just running towards that right-hand side like this. Often to the water, almost. Something like that. Good, good, good. Let's put a bit more shadow and especially on that right side of his shirt like that. The thing that he's holding here as well, That's just this jacket or whatever it is. Run by the side. That shadow inside there. Of course, a bit underneath his neck, his head because the is costing a little shadow inside like this. It's just joins onto that shadow on that right-hand side as well. Good. Maybe a bit on that bag, the inner part of the bag. Let's have a look at this figure here. We can put in a bit of imitate that same shadow pattern a bit he'd shutter running down the right side of the body. Bit of shadow on the right side again, just softening off there and darkening this bit of his right arm as well. What I noticed now is that this figure is kind of not dark enough compared to that one. So I'm going to just add a little bit more paint to make sure that the figure is as dark as the one up the front, at least in some parts of the body anyway, in this shadow and has to be consistent normally. And shapes and things in the front will appear darker than the ones at the back row in front. So this is why I'm just trying to be a bit more careful. Here we go. That looks good. Of course, some of these figures sitting down and going to have some shadows running across the right side with them as well. It'll be here for the foods that are running off. These because he's gonna be fairly dark as well because they are in the shadow of this umbrella. I'm going to just get a lot of darkness in there. It makes a difference. It really does because you then see, I'm, the light of the scenes, pop out more little shadow for these figures as you go back, you want to make the shadows a little more lighter as well. A bit of connection with everything else in this scene. There we go. You got a couple shadows in for these two figures. Like they're great. Another thing you might want to do is put in bits of seaweed or stuff that you might have just wash up on the shore like a little it scratches using the edge of your brush Saudi a brush like this. Just getting little potential. It's a seaweed or stuff. Really does help. Good. I'll get in also a couple of little birds and things off in the distance. You have a beach scene. You're going to have lots of birds just make these little v looking shapes in the sky. Like that helps to break up the sky as well. Good. While this is all drawing, this is when I stopped getting out a bit of the wash, the white quash. And that helps to bring out some of the details and the water. Just trying to mix up a bit of this already got some on the page on the palette. I mean, can be tricky sometimes when you're mixing, when you're using white gouache, it's easy for it to get contaminated with other paints. I'm just trying to use a clean brush, get a bit of it. Give this a try. Beauty of this. Kind of looking at the waves and seeing if you can imitate some of it. Going in the Watts wash areas and pick up a few waves here, seem just coming in from the sea. We go towards the back. You'll notice that they become smaller. Smaller little waves here at the back said Don't overdo it as you get out to the back and the more numerous, but they're a lot smaller than what you'd get up the front here. Just a bit of a bit of that running through this. One last dry finishing touches is really just using that white quash. Again. Picking some of that up from the palette. Putting in some final highlights. Mix up a bit more here on the palette. For this person shoulder there, like that. The head. Just dropping a bit. Maybe a bit here. We go. Here, maybe a bit on the umbrella as well. That just debit on an area as I don't try to emphasize it too much. And that could be a person's head. This could be some figures here in the distance like that. Draw some of them out again. It's some of these little details you can suddenly bring, bring forward again. Again. You just water. It's up to you how much you want to indicate in there. I tend to go a little easier on here. Some people we've been just skip out the highlights altogether in the water. Top of the head of this lady. These two figures here, again, just tap, touch and touch n Good. Middle around too much in there. Sometimes you get birds, sort of lots of colored birds that fly through these dark areas as well. When Sir, I tend to also put in a few little birds are or who knows, it could be anything in Ireland. So whenever. That also helps to create a bit more interest in the same some logic. Some of them just in different stages of floods as well. Closest some further away. That's it. We're finished. 15. Beach Scene: Draw & Paint: Okay, In this video, we're gonna be doing this beach scene. And we've got a few really close up figures I think, which makes this quite unique. And also a indication of a boat in the background. I quite like this. I think I might get a few more boats in nice, beautiful turquoise water and some headland pass some houses at the back. I'm not sure exactly, but let's go ahead and do a bit of drawing. I'm gonna be using a 0.5 lineup. Do most of this and I'm not going to bother really getting in the border of this scene, but what we'll do is look at the horizon line. The horizon line is about a third of the way from the top of the page. So if we look, we divide, look at the horizon line. It's kind of, it's not halfway about a third and then you've got another two-thirds down the bottom. That's about where I will place it. Simple, something like that. Nothing too tricky. Bit higher, but that's okay. We will make two. And of course, the second easiest part is getting a bit of this land out in the background. And one of the interesting things is that we do have kind of houses. The middle has maybe a state or something like that just up in here. So I'm going to just draw in and some buildings, just quick indications of buildings. I don't even want to draw it. Draw the exact details in but more the rooftops, that general shape of them, as you can see, sort of just going up into the distance as some of them will just simplify down to more of a rectangular shape almost like this. You can also get in a bit of this, the sides of them, a bit of this 3D side of it. Anyway. So we've got land coming down. We know that it comes all the way down here. Let's go ahead and get in the bid of the land sticking out near the water like that. Okay? And of course you've got this air of the water that comes in hits about the 2 third part of the page just around here. I'm gonna just go in and get in a little bit of that. Shorelines, something like this, not too obvious, but something similar to that. Let's have a look. We've also got, of course, these books, a little boat here, often to the background and he's the front of it, a little bit of the top of it then the mast as well, which we will also get in a bit later. But I can just copy this one a little bit and put another one out here, a further out into the ocean. This, and a more details. Perhaps we can have a small one here in the distance. Let's have a look perhaps, a bit sticking out like that. So just drawing in these little boats here in the distance. Like that. I really liked boats in, just sort of added into the water like this. It really just create something interesting, something magical to look at. Contrasts with the water. Some of them be facing this way as well. So it's sort of flat on, straight on like this. So it's a little bit easier to see the front of them. And they're not gonna be long. They're going to be sort of squished down a bit. I think that's should be a k. I mean, you can really come if you really want it, you can put in a larger one closer to the front like this, but I don't want to overdo it. I guess something like that, perhaps a larger one in there. Let's go ahead. I'm going to get in this lady him. I start off with kind of a hat like this. Lightly. It's down on the page and getting a face, a little bit of the face there like that and the neck. And she bit of her shirt like that. She's holding onto some kind of knowing like a towel. I think it looks like a tau for sure. So bit of a forearm coming in like this, disappearing underneath this tail, just got a bit of a chin in more of a chain like that in the back of a **** like that. Some hair here as well. That's about it really for the tau mean this bits, other bits of this tau here as well. It just sort of Come down as on the size, the edges like these. Of course. We've got kind of just putting his shorts as well. Then we can just basically put in some legs like this. I think her legs are gonna go out of the scene for this particular one because I've got a head little lower, so we'll have to just deal with the head being out of the legs being added the scene, but at least I can still getting a little bit of her body. Just walking away from the scene, something like that. I think that should be good to go. Great. Maybe a bit more detail for her. At this, something like that. Let's go ahead and put in some of the other figures is a couple of ladies that are just near the water and I'm going to simplify the shirts down a bit like this and then maybe coming down the back here like that there and dress here to look. Is another lady sort of facing a bit more towards that. The right like this. Just simply down to simplifying down the ****. Getting an Amin perhaps. And then here in the back there, IP address. The turquoise see college risks there. Let's look at this lady which is elongated address a little bit and put in some legs, some squiggly indication of legs like this, just triangular looking shapes. That's okay. Do Fine. Go in and put in the bag. We will hand back like this running down. And then we're going to emphasize her arm a little bit more like this. Good. Of course. Would have been more hair on and like a band or something here. Lady did a hair and maybe taught up in a button, just walking into the scene a bit. Let's have a look. There's a man here that's standing up but just behind here and these heads just means pretty high up. It's almost like around here. I'm going to just draw it in, always hidden like that and getting this side of his shirt quickly. And I mean, I just go to sleep and he's holding onto some type of somebody's holding onto bits and pieces. Something good design. He's holding onto something. I'm not really too sure what it is. He's maybe trying to sell hats or something on the beach. Books. Possible. Little bit of that. Part of his body like that. Let's go ahead and drawing the rest of his legs. Just wanted to just decrease the size and down a little bit as well. Something like this. Maybe a shadow running towards that, that right-hand side. Decrease the size of them down slightly. This is something when you do this in line and wash as well, you find it. And if you go in the background, which is quite, quite dark with the water, you can get away with. It's little things like that. Sometimes you're not always going to get in the exact right size for everything on here. But certainly this figure is toll of these ones because there is a kind of an elevation as we go out to the back and then something like that. Let's put in another figure, another lady here and you're just standing at the side. And again, she's holding onto the bag or something here. Getting a bit of a should and legs at the base like these finishes just standing by his side. Like that. Okay. Continue on. Let's have a look. What else can we put in? I mean, the times you might be able to get some some indication of somebody just sitting on the beach like that. I'm just as good indication of some figures just sitting together on the beach further off in the distance like that. You've got another lady here starting to walk in with the largest dressed like this, one foot forward and one kind of at the backend that you've got people who in other person kind of hunched over, bent over, picking something up here on the ground. I can't see exactly what. But again, just changing over, adding some slightly different poses and scenes. It could be picking up something from container. I've used. Well, let's have a look at it. It's one of the things is with the background. Bits and pieces, you won't need to really add in a whole lot of detail. It's just indicating bits and pieces, really. Find it. It didn't just not worry too much about the detailing as we get to the back. More. So the subjects in bits and pieces here in the front. This Lady is wearing a hat. Just going to indicate that kinda just looking in this direction as well. This move people and what have you just walking along the beach. So here is where I'm just going to simplify getting a few overlapping figures and legs, perhaps joining up like that. And you actually get a bit of shadow running here as well for it from a tree, logic tree that sort of comes in on the side, check what like like that, but that's going to cost a bit of a shutter. Towards the right on the beach, you've got little bags and stuff as well. So I quite like this indication. I mean, it could be a tau just around here with a bag is two. So I'm just going to get in a bit if this indication of a towel or something like that. Great, great. Let's have a look. What else could we potentially add in here? Like we should perhaps getting another figure here. Again, just sort of sitting here on the beach. Um, perhaps looking out into the into the ocean, resting backwards like that, just going through, the shadows are going running towards that right-hand side as well. So you definitely getting a bit more bits and pieces, darkness running towards that right-hand side. The only other thing I could potentially think of is some kind of an umbrella in here, for example. Somewhere of a here we could perhaps put in an umbrella. Yeah. These people could just be underneath setup an umbrella or something like that. Something like this should be good to go. Just the kind of triangular shape might have one here as well. We can just indicate another umbrella shape and just stuck, stuck into the ground and create a bit of a shadow to the right-hand side. But I think that should be, that should be good to go for the drawing. So what I'm gonna do first is I'm going to go in and getting some colors for the sky and work my way down. I'm going to pick up, I'm cerulean. Here. I'll put it in a bit of Guassian bit of white gouache in there as well. Just to give it some more volume, I'm just dropping that straight in. Kind of give it a little white border. Leaving the edge like this here. Bring this down. Remember I've got a little bit of tiny bit of white Gaussian here saying before to give it more volume. Going down here. Yeah. I'm also not doing as well. I'm going to drop in a bit of dark paint in this mix to, for example, little bit more cerulean. I could just drop in some areas like Doc and off some areas like this. Sometimes the beats that you leave out on it just looked like lots of bits of sky. Just be my Padlet blend and it's pretty nicely like that. I'm not going to mess with it too much just like that. I'm going to pick up some green, a bit of undersea green, which is like the dark, darker sort of green here, granulate out. I'm going to put that into the spirit of headland and let it just blend together nicely. And we're using this to also cut around the building is going to leave a bit of that white and some details of the buildings doesn't have to be perfect. Bit of the edges of the headland as well. Welcome. There's some little little bits of darkness in there as well. And maybe some brown would look good to just a little bit of brand. You noticed that goes all the way down to the water. Here. We want to keep it pretty dark and it'll get down to the base like that. You will find as well. There's a little bit of darkness to the left-hand side. We're just going to pick up a bit of a darker black color, mixing green with it to create a kind of a darker greenish color. Just for this tree off here, which I might have to actually redo data, but it should be good, just something that I can blend together nicely. Looking good. I'm going to carry this down all the way to the edge of the water, somewhere around about here. And this is where I am going to drop in some of the blue for the water. I've got ultramarine, ultramarine blue here. Joel, mixing a little bit of green. Let me just have a look and maybe some dropping, some of these. Let's have a look. Ultramarine. I want a bit more ultramarine and they're beautiful. Little teeny bit of yellow, a bit of yellow ocher. Can we start going in and mixing, living in, mix in areas with this background but not an earlier is because I'm also trying to leave some white spots to indicate perhaps some little boats off in the distance. Here we go, just going to go through and cut around like that. These boats. That's why I don't like the color everything in I like to lot of the time I just like to leave some white on the paper really makes it look more interesting. If you do that. Just putting in a little bit more blue in here as well. And again, you see how I've just gone over that figure? Well, they're gone over his head because it was a little bit too tall, but that's good. Go over the cut around these figures here on the beach. Here on the beach, especially it gets pretty light as we move further down. I'm just being mindful as well to get in this stuff on the left side. Trust sounded like almost at turquoise. See color for the water. It like that. Seeing how far it comes in around about here, I'd say, good to go round. It's cut around these figures and bring this wash down the page like that. Bit of yellow to yellow in there. Basically you just mix ruin in a bit of yellow together and you get a slightly kind of took always say looking color. Good. What I'll do now is I'm going to start picking up a little bit of buff titanium mixed in with the yellow ocher, and this is going to be my sand. Let's try. Let's drop some in here. More white perhaps. And the great thing about it is that you can get these mixing with water, which is going to make it look quite interesting and more natural. Get a bit of mixing in the soft edges. Mix some of these in here as well because I just want to get in all the sand in a warmer color. They just cut around the figures. Move your way down the page. There's a lot of water in here. Probably 60% water, 40 per cent paint, combination of yellow ocher and a bit of buff titanium. Just simple shift that down, shift that down the page like this. That through the legs. So this occurs. Just cut around that tau. More here, further down here. Good. Really From this point on, which is just looking at some dark bits to add in, for example, for just some of the bits and pieces on the sand. I mean, you might sometimes getting little bits of seaweed and what have you running through? I like to just pick up a bit of grayish paint and drop a bidden areas and just dock in and create some slight inconsistencies. Here. You can even start working a bit on the figures. I like to do some basic work on the figures to just getting in some blues and some different colors, light colors for the figures. And if it blends in with some of the other colors, that's okay as well. Just, just keep it nice and light. And just think about basic colors that we want to put in here. Here's just some yellow for a shirt. Move that blue down amino, pick up some of these other yellow drop that in there. Down to the base. I'll pick up some ultramarine and just drop some of that in here. Perhaps. Could even pick up a bit of purple. Basic colors. Mixes is another figure that another person here maybe have a bit of red in there as well. Good. Look at these key on the ground as well as this little beach towel. I'm going to add a touch of color in there like that. A couple of figures here that they could benefit from some cooler color running through as well. You've got this lady here that's got these towels holding onto these tales and shorts and what have you. I'll just pick up a bit of this brand and getting some skin tones and basic skin tones hue. While, while we're at it. Like that. Good, good interest. A bit of, this is just a bit of thought. We can use raw sienna or burnt or raw sienna works well to read and they're actually going to be the red courses. Not only opportunity, it's just a good time at the moment to start putting in some colors. Wearing a shirt here, down there, the side like that. Don't have to get them all in. We can just actually leave some of it out full afterwards. Umbrellas, let's put in a bit of coolness. Maybe for this one. We can go with some red for this one. Just drop that in. If MIT blends a bit, no problem, then it's just a little bit of colorful, nice figures off in the distance as well as red and brown mixed together for these ones. Didn't buy the beach on the ground. A little bit of color for these ones as well. Good. Now I'm gonna give this a quick dry and come back and get the second wash. We now are going to work on getting in some subtle shadows on the figures and then we're going to work on putting the darkest shadows in. So I'm mixing up a little bit of grayish paint him, I put it in a bit of blue as well, just so you can mix a gray from combining your primary colors. And I've just put a bit of blue in there. I'm just going to go in and find perhaps some areas of the clothing and what have you that I'm not want to dock and create some shadows on the figures. So there's a bit of shadow underneath the handbag. Perhaps I could indicate holding onto a bag or something like that there. This figure here is interesting because her entire **** is black, so I just want to indicate that there is some darkness in there. But I didn't want to overdo it as well. A bit like that. The hair underneath and then this part of the hat as well, to leave her hat white, actually. Little bit of shadow on the short like this, running underneath her skin as well. You notice just a bit of shadow running across like this and this leg, especially as almost completely in the shadow with the sun coming in from the left. Also her face. We're going to get in a little bit more darkness running towards that right-hand side. Look, it's not a whole lot of detail that I'm implying here. Little indication, little bit of shadows for those towels that she's holding. Sometimes you might be able to go into these other figures and putting little folds in the fabric of the fabrics and what have you as well go in and start also darkening the lakes. This be it. We're just putting in the faunal doc bits and pieces. And you can also add the shadow under the same time. That's a bonus. I mean, if I can just do this kind of thing, for example, That's great to join it on the same time. And great deal. It looks more natural as well. Just going to put in a bit of colorful arms. I've got a bit of brown. I'm just going to drop that in there. This and this lady's left and right arms. Good. Again, we're just trying to make sure that we're leaving some of that white on there for the indication of the what you call it the indication of the highlights. Look, what else can we do here? Drew out a bit more detail on her legs, create more shadowing. This figure is quite far in the foreground, so just can't justify putting in a little bit more detail their hair of these figures as well. You're going to find, look, it's not dark enough, so I'm going to just add in a bit more like that. Then. Have a look at these figures. I'm going to just put in a bit of little bit of hair here for these figures as well. Sitting down and join up the shadow, potential shadow here on the ground. Underneath with the figure to the right. So legs join up. And we've got a bit of darkness shadow underneath that figure. Let's have a look. We've got a shadow onto these figures. Well, running towards the right-hand side, you might get a bit on the clothing, for example, like that. Let's put a bit of color into his arm as well. The one that's going to outstretched a little bit bigger than his face. Like that. That's got a bit of darker color to just drop in for the hair. I'm gonna just indicate some hair here. Good, good, good. Little bit of brown here for the one. And the other arm is maybe like outstretched here for this lady. Bit more darkness in there. The hat is pretty dark as well. So here are some figures sitting on the beach again, just these shadows running towards that right-hand side makes a big difference. I forgot to get the shadow of this one at the front here. So I'm going to just combine along with the legs here jointed on with that figure. Let's have a look. This lady here, let's get in the legs. And again, a bit of the shadow running towards the right. These figures underneath the umbrella, often you can color them in a little darker because of the shutter from the umbrella. Sometimes underneath the umbrella is will I think adding a bit of darkness under it helps indicate dark bits. They're going to person just sort of bent over there again. I'm just trying to just connect up bits and pieces and the shadow of that umbrella like that. Yeah, This also figures off in the background. Simple just joined those all up. But also interestingly that there is some shadowy area here for the trees, maybe in the distance out of the, out of the frame. I can just do this kind of indicating some shadow coming outside of the scene, perhaps like that. Like to put in little indications of footprints and things on the beach as well. So you notice I used a bit of scumbling and turn the brush on the side. Getting a few little bits and pieces here on the ground that could indicate footprints kinda like what we did before, wet into wet. Kinda like what we did before, but we're doing it, some bits of it just drawing out. Great. We are almost there. We just want to really adding a final touches, little bits of light and dark areas. I'm just putting a bit of warmth for this hat. Ladies wearing like this, just a bit of a something like that. You might have someone who's maybe this lady could be wearing a hat or something, just something that I had there. Cuz we'll see, do you want to mix it up a little bit from time to time? And I also use a touch of white gouache to finish things off. So I squeeze a bit here on the side of the palette and do things like the sales and the boots, maybe a tidy up a bit of highlights. So I'll just pick a bit of it up like that. Let's have a go. Even that out a little bit more. There we go and get a bit of B, the sale of that book at some water in here, it's going to be easy to shift that paint around with some water in. You can even recover some whites. Then putting boats that weren't really there in the first place, something like that. See remarkable things with quash. Just lets you finish off a painting, bringing back some of these highlights and they look great. When of course you have all this detail here, but mainly you got a dark background. So I'm just indicating maybe some smaller boats off in the distance. I'm not even I didn't even sure if they are not, but it does help. It's what I'll put in another one here as well. Very versatile. You can adding what you want really. Let's have a look. I'm not putting some highlights for the figures. Just a bit of color on the backs of them. Squeeze out a bit more. On the top of the head. Maybe Shona like this, indicating some sunlight coming in and hitting the side of the figure. Drawing out some details. Lot they're finishing touches to bring back some of that light that we might have lost. This also goes for shirts and stuff. I mean, I've just wanted to maybe paint these should white. You can do that as well. Doing this sort of thing. A bit of gouache there. As long as you can tell it's not too obvious. You, you'll find this one definitely needs some kind of highlight on his head. He noticed how I made a mistake before I went up a bit too high. You can barely tell. Now that it's all kind of Coumadin. Bit of color on the back of the shirt. Same for this fella running down like this. It's putting a bit some little highlights where these ones in the back as well. Maybe a bit for these umbrellas to you can just touching go for some areas. Sometimes you can even play around with these trees and getting a few little highlighted branches or stuff like that as well. Here on the umbrella. Like that. Fantastic. I'll call that one finished. 16. Beach Waves: Draw & Paint: In this video, we are going to be doing a simple beach landscape. At probably a little bit more than simple actually, we've got some waves coming in, these white frothy looking where it especially near the shore, gonna be a little bit trickier to do. We can cut around them, use a bit of gouache. And we've got also a bit of headland in the back. They're filled with lush green moss and shrubs, that kind of thing in a little house on top as well. Thinking I'll also, we may put in a few figures in the foreground, so it's a little bit more tricky than the other. A simple headlands beach landscape we painted, but we're gonna be doing this one now. Let's go ahead and pick out a few pins. Now, I'll show you what I've got here. I've got myself a bunch of pins. I've just got a 0.5.6.1. I think I'll go with the 0.5. Also got a few sort of flat line is too, may or may not use them. I tend to just use one pin most of the time. Anyway, let's go ahead and I'm going to start by putting in a little edge, a little border going around. So just around the edge like this. Keep it the alienate. Again, it's stylistic choice. The campaign straight onto the edges, up to the edges if you'd like. The first thing we're gonna do is put in the horizon line. And that's basically where everything disappears off into the distance where the sky meets the water. It looks roughly about halfway, so quite an obvious separation, but let's just do this as long as you've got roughly halfway through, you can go to slightly further up or down. That that's fine as well. So just putting that in like that, probably the next thing that I'd want to do is just mark in the area where the water comes into the shore. So I like to use the edge of the pen just a little quick scratch on the edge like this just to mark out little positions where the water comes in. Something like this as you can see, smaller off the back. Something like that. A lot of this we're actually going to have to painting with watercolors after. But I just want to put in a general position for some of these white bits of froth and the waves, these frothy sort of looking waves off in the distance especially. Okay, so it's gonna be interesting. We're going to keep a bit like that. So it looks like the water's coming in off from the distance. Let's go ahead and put in an indication here of this headland. And we've got an interesting situation here because we've got a house on the headlight as well. I'm going to actually just draw it in, do a quick indication of the house. So we firstly want to get in this kind of triangular bits. Look at the house and look at ways you can simplify it down to simple shapes. And I know in at the top of it, it's kind of like these triangular shape here comes down like that. The rooftop of it actually is probably more complicated than I initially thought. I'm gonna simplify it down. And we're just going to make it straight. I don't want it to be too complicated. So something like this. Just the edge. The top of that little house there. Got it comes down into this area of the and hit land. And you can see the headline and kind of cuts through it, which is why I tried to draw the house first so that I don't have to kind of cut over the top of those lines. It just looks a bit messy, so we're coming down. Let's have a look weird. It does this kind of headline finish roughly in the center, but we don't have to be entirely accurate here again, you've got a bit of artistic license to just change things up as you wish. I'm just trying to make that look a bit. I did not create a little hump there, but it's not exactly as per the reference. And as you can see here, there's also some small rocks that get closer. Not only that, but if someone's beneath here as well. Near the center, a little clumps of rocks with trauma is catch a bit of the lights as well. I'm going to put that in just so that we've got some more interesting shapes here until the background. You can see that it's mostly costing a large shadow actually underneath in the region. So there's a lot of lot of detail in here, lot of detail. But I suspect we'll just get it all in with watercolors later, rather than mixed around too much with the pen. Let's also look at getting in some figures. Now, I would like to get in perhaps a couple of figures over here. Smaller ones simplify down so that the head is just a rectangular shape. Body again, like a rectangular shape, that's water at the bottom for this particular figure here, maybe a leg going forwards like that. I'll get another figure to the left and maybe more of the ad plug-in inverted, not an invertebrate, just like a more triangular shape like that. There we go. Again, it looks like two figures all Qing into the distance. I think this would be known as we can get some shadows, iPads running towards that right-hand side. I think that should be it. Then the other thing I might add is just some of these distant mountains back here. But it's not obvious to just kind of painting off into the distance like that.net. I think we are good to go. Let's give this one a try. So I'm gonna be picking up my palette cage, just an aside, I'll move over so that you're able to see the mixing. And the first thing I'm going to do straight away is to get in a little bit of the sky. So I'm going to work straight from the top to bottom in this particular scene. So let's get in a soft, soft sky really, really light, just cerulean blue that I'm using here. I'm keeping this washer very wet. I'm putting in lots of water in here. I just want it almost as large as I can get it. Something like this. Let's bring that wash. Kind of light-blue, a touch more blue. Little bit of this cerulean blue. Sometimes you got to retouch it if you feel like it's just not dark enough for your liking. Something like that. You go over that last one there. I'm going to go ahead and work this washed down. And one of the things you're going to find as well is this area here is going to be darker. So we've actually got a section of water that's just dark right at the back. I think it's more of a turquoise. Looks like a turquoise. See the color, very dark turquoise color. So I'm just mixing some cerulean blue with turquoise. I've got a bit of this neutral tint that was leftover before. And let's give this a test that's I think that's around the color and tone, so I can just drop that in like this. Like that. At the back. It is touching a little bit of that wet area but not too much. So I think it's going to spread drastically only thing like that. So I'm gonna go through and of course leave a little bit of this white area just like that for the water. Let's have a look. We'll move forward. You're gonna get areas as well where there's a kind of choppy sort of areas, at least I would like to use the side of the brush like that, just to imply a bit of that choppiness in the water. Course against leaving another row, another sort of bit of white running through there as well. Leaving the white in there. So important to have a look. Have a bit of this wave running in from the side as well like this. The more that you suppose leaving out to just, I guess just to leave wife for easier it's going to be up to it. So you went after basically weren't have to go in and use much washing, that sort of area. There we go, Look just a side of that brush coming in. It's kind of a chalky looking water. In this section. As we get closer, it kind of turns a little bit greenish in here. And the reason why is because we've got some sand mixture of a bit of sand in here. I'm gonna go to pick up a bit of yellow ocher. Let's just drop it in bit of yellow ocher over here. Maybe some burnt sienna would be good or a little bit of brown mixed in there. Just a little touch of g of thought in here. And we can just drop it in around the figures, especially get these to kind of blend that mixing and I find just letting it do its thing. It just looks the best if we let it mix on its own. Okay, so of course, I do have a little bit of an area here that I might have to adjust. Blend a bit more, obviously like that because we've got actually dark kind of. It's a water near the foreground. Just dropping in a little bit of paint in that section to try to darken that area down more. Just keep adding in some more of this yellow ocher. You on the left-hand side. Of course, the steel little bit of that brown that I've dropped in near the beach is not completely yellow. The sand is actually bits and pieces of other colors in there. Browns and what have you. I'm Tom to go into the background and I'm going to just add in a light wash of green. It's definitely actually darker than the scar. And we might try just go and dog straightaway because I know this will probably draw a touch lots and also we want it to be dark enough so that it looks like the house really just pops out of this whole scene. There we go. I've also lived off sometimes you get a bit too much blending up the top and you have to play and play and lift off a bit. Here's a bit of darkness. And in here, I'm just picking up some neutral tint. It's just a lot darker in this section actually. You can see. But you've got kind of green mixed in this cut around that. Let's put a bit of green up in here to touch of green. In here. We're getting little bits of green and stuff just mixing into the sky. Not to fuss over this. I mean, it can just look a bit like the trees and stuff like that. Perhaps. I'm focused on just making sure I've got a nice solid mix of color through here. And making sure I'm implying some of those dark bits as well. So even here that's just a bit of darkness running through the rocks. I'm going to try and to really bring that out. Some areas. Neutral tint in here. Fantastic. And also start putting in maybe a few little bits of darker granulating bits of brown in the sand. This is just to indicate perhaps some seaweed or bits of footprints and stuff like that could be sticks and things just washed up on the shore to just keeps the ground looking a little more interesting. Little bit more interesting. So there we go. Of course, you've got some of these rocks, Years War, which you can add some little touch of color in there. Just a bit of lots of color like that. Okay. We'll give this little dry, but just before I forget, I know there's actually a little bit of bit of little mountain here right in the background. So I'll drop in some touch of blue image, just a little touch of color in the dry that off. That area is all dried off now and we're gonna start putting in all the rest of the shadows, a little bit of shadow on the house, on the rocks. Finish it off with some gouache. I'm just picking up a bit of nutrient tint here. I'm going to color in the saga of the house, kind of grayish color here. It's not, it's probably about 60% water, 40% paint here, just a bit of that darkness on the house and also getting the rooftop as well. Just to emphasize the light coming on the left side of that building. Sometimes you do get a bit of shadow on the top of the building like that. Whether you want to put in some little windows and stuff like that is up to you as well. You can just sort of Gabby in a few little quick windows like that, I wouldn't spend too much certainly wouldn't spend too much time on it. Just a little indication is fine. Fantastic. So what I'm gonna do now is go ahead and mix up a bit of this brown and ambit of this. I basically got a bit of brown and black, but you can use neutral tint as well. And what you can do is actually just use a soft brush, kind of like what I was doing before. And I'm just trying to get in a little bit of dark texture. On this area of the mountain. At the back, especially. You've got a beak here as well. Side of this rock like that. Indicating the light, especially putting it a bit on this rock to leaving that left side of that rock exposed so that it looks like you've got kind of light bouncing off the left sides of it. And in another thing is that if you negatively paint, as you can see here, I'm just kind of going around the left side of the back and I ran the back of the rocks, actually brings out the color of these rocks a lot more as well. Makes it pop out because they just lata. So we can go ahead and definitely do this to get in some of the detail in a bit here. And let's put in a bit. Here's what I mean. Here are these other rocks as well. We can just again use that darker paint to cut around a bit. Here. Also works with these figures because we're cutting around that figure is slightly like that. Bit more darkness. And here, this is just neutral tint or you can use a bit of any kind of dark color that you mix up essentially in here. This is shrubs and things in the sort of hit land at the back, the side of the brushes just test, take a little an age of that round brush. Again then just going around some of these rocks and cutting around them a bit. As you can see. It just looks like they are exposed to the light. Get a bit of light and running across the ground like that, especially if it's suddenly these ones at the back. Bit of darkness, sorry, running out in the ground. Could have Dr something needs some of these rocks just like this one there, for example. Let's have a look. What else can we have up here? We might have a bit of texture in there as well on that side of the house up here. Like that. Huge amount of detail in just a little bit of scratching away in the background like that. Also going to look at getting in some little rough marks or something on the ground here using the side of the brush. As you can see, just some little small marks near the water that help to indicate perhaps almost, almost like seaweed or what have you. But the interesting thing is that you can also use it. Just like very, very faint directional lines. I don't know if you can see it, but I'm I'm almost trying to just make it appear as if going in and if following a bit of angular structure going around like that, getting smaller, more distant here at the back, especially a changed the way I hold the brush because otherwise it just looks get the same type of mark everywhere. Just forms an edge around the water, as well as kind of lead the eye into the scene. Just little bits and pieces like that. I won't also getting the legs of these figures, just the beauty of the same paint and it's getting a bit of darkness there on the left side of the legs that's lifts out of the body like this. And then just draw a little shadow. Shadow just running across to that left-hand side. Like this. One up as well. One I'll put it in a bit of color for the body. Some cooler color there. This one here, I can just soften that down a little bit more, but maybe a bit of red. The faces touching written there. Just dropping a bit of black for the hair or just a darker color. This will go over the top with some touching quash later on too. But just a bit of hair on them like that it actually looks, makes it look more convincing. As you can see already. Happier with the figures of the rod actually. But what we were meant to do is get that shadow actually going towards the right. I'm going to read just do that shutter. Last minute decision. I had the shadow running in the wrong direction and it's meant to be going to the right so we can go ahead and get that shadowing. But that means there's a shutter he is. So I'm gonna have to just create a bigger here. Actually. Make sure that this one, this Kind of adds up a bit. Putting in another figure here, lift and drop in some color, just define the legs. Touch, touch like that. Well, sometimes they tend to look a bit funny on the Learn like this as wealth that you might have to just putting a few, a couple of others. It could be just a bunch of people just walking along. These two couples or something like that. Maybe a child hears something last minute kind of thing. But sometimes if you need to do that when you make little areas during, during the unanticipated errors or things, you can do what I'm doing here and just fix them up. Let's go ahead. Put a bit of color in there. See what else can we do here? Bit of gouache, I'm going to go in and get some little waves on the course just close by. Just really draw out this. And some of the smaller waves. I'll just pick up a bit of whitewash out, clean off my brush a bit so that it's still kind of debt. But it's pretty much just whitewashed, pure white quash. And we can just drop some of that in. Just a little indications. Here on the shoreline where you've got perhaps bits of this waves coming in like that. As you can see. That bit more gouache. You can kind of drawing them up a little bit with the water that's already there. You can see it kind of just comes all the way into the sin like here. That's why I'm just bringing in a little more thing that you can actually redo some of these waves as well. We can just go in there and drop in a bit of extra gouache if you try, if you've missed out perhaps a section of a wave or something like that, that you want to imply. More. Example, we say, say you want to get some waves here on the rocks or something like that. And they can go back in there and do stuff like this too. Sunlight on the heads of these figures. And perhaps on the left side of the shoulder like this. Just to indicate the light source to the left. These figures, these needs because that I've put in here to the left, we'd have to do the same thing. Maybe a bit of white gouache for the heads. Just a little bit for the left side of the body. Simple. Just having a look, what else could we potentially do? I think sometimes you can even go into the ground and just dropping a bit of gouache or, or even into the mountains in areas where you think might be good to indicate some highlights. Here, here, perhaps up on the top here like that. Sometimes you get a bit of watches catching areas. So you can just do this sort of thing and scratch away a bit like that. Sometimes will be running through the sand. Fantastic. Let's go ahead and putting a few little birds, just a little, little bits off in the distance. It helped to really bring together this whole scene so that we've got a guy that's just more connected onto the rest of the scene, as you can see, just helps to connect the sky with the medial background areas. Make the birds at the bottom of what smaller as well. And I've changed the size of them and make them pee randomized. That helps. Okay, we have finished. 17. Boats: Drawing: Alright, so in this video, we're going to be doing a scene, a boat scene, and it's really busy looking scene. It looks like some kind of port. And the boats sort of tied up here all lined up different colors with some buildings in the background. I'm going to have a bit of fun and sketch this one in. And first thing I'm gonna do is start off with a border, a three thicker border, and go with 0.7 liner. And I'm just gonna go around the edges In, create a little border around the edges. And this is a stylistic thing. You don't have to do this, but I'm just choosing to do it for this one times I even go outside the borders and don't even acknowledge them halfway through the actual drawing and painting itself. But I feel like I just want to put this one in. So you can also just paint to the edges or draw to the edges. Some people do use a ruler. But I liked the jaggedness of the edges, just gives it a bit of variation. What we want to do first is look around about the vanishing points. So if we look at where the buildings, I guess they taught where they meet the water. You can see it's all the way out the back somewhere over here. That's where I'm going to just swapped with a thinner pen, a 0.5. And I'm just going to draw a little line like this, just a little broken edge, line like that. More to signify the building of the back, where to start and what have you and that might change. I might make the buildings even bigger. So, which means I might have to move down the horizon line or the vanishing point at the end. So let's continue on and I'm thinking, how about we getting some ideas here that's drawing this boat, okay, this is just a bit of a top part of that. The boat that's sticking out. The way I draw these boats as well as that. I make sure that they're bigger down the front. We look at where this boat finishes roughly down the center of the page. If we look probably a little bit more right of the center, something like here. Like that. Drawing. 18. Boats: Painting Light: Let's start off. I always like to start off with all the lovely bright colors. First bit of yellow in here, always go with the lightest colors first paint from light to dark. A bit of yellow. I'm gonna go with a tiny bit of quinacridone. Orange here. Kronecker don't burnt orange. Just looking at areas, usually the warmer parts first I tend to paint. That's because I don't want to risk mixing any kind of greens are any odd sort of just greeny colors where I don't want them into show up. Just kind of really, really obvious colors in here. Often I'm just picking them straight off the pallet. I mean, that's just read I've just dropped in red in there. As you can see, you're already going over the top of that pin. It masks it. Often people think once you, once you're in there with, you go over with the pen and it shows through, but it actually, when you using dark watercolors, it doesn't. You also want to make sure you're leaving some white sort of boats in here as well. There are some cream colored ones. For example, I could just put something in like that. This one is actually kind of like a grayish color. This boat here. So I can just color that in a bit like that. Unlike to also drop in some cooler colors. We've got this top on top here. I'm going to pick up It's almost like an ultra. It's a really strong ultramarine color. I think it a lighter ultramarine and just mix that in their cooler color. It's very vibrant. But I do have some other purples and mixed in here as well. So I'm not too fast. Just drop that in. And really at this point, we're not looking for accuracy or anything like that. We're just looking for basically a bit of color to indicate that might be the inside, that's a bit of cerulean, blue cerulean here as well for that bird. Now you're just dropping in colors, letting it mixing, seeing what it does. It's a bit there. Drop that in these boats out the back then they could do with maybe a bit of a creamy color here. Just mix that in. Don't be afraid to leave some whites to. Here's some darker color in there. That bit here. This boat here in the background, we can just going with a bit of a darker, cool color like this. And then maybe a bit of red in here like that. This bird here has like, kind of like a grayish top toward I'll just pick up some more gray and drop it in like that. Bits and pieces even in the background, you can indicate, I haven't even put in any boats here, but I can indicate some colors, a bit of red or something at the back and a bit of blue for that one. Color like that. 19. Boats: Painting Shadows: Okay, so continuing on the last step and really use just to put in some of the final shadows on the buildings. Some of the shadows in the boats, some of the reflections in the water perhaps, and some finishing touches with the Guassian. I tend to use, especially with this size paper which is A14, attend to use a smaller brush for this. And we're going to use this brush here, which is basically a number six round brush. Quite a bit of ultramarine mixed with a bit of brown water that down a bit. And I'm going to go ahead and just dock and off some of these buildings here all the way in the back link in this section like this. Just a layer of paint running through like that to create a sort of shadowy shape that you'd notice also the shadows and the buildings. They kind of this, around this point. They sort of start to cut off of it. You just see the shadows on the right-hand side of the buildings. So always remember that light sources coming from that left-hand side. These buildings may be in complete darkness except maybe the rooftops and things. But the ones closer here, I'm only going to have the side of the building, front-facing side of the building. Lot. These other ones here, especially that they're probably going to be probably gonna be a lot more lighter. Like in the reference. This right-hand side of the clock tower. I'm just going to get a bit of shadow in there in a bit to the top like that as well. More of these shrubs just color them in. It's really your opportunity to get an older docs and bits and pieces. You weren't able to get in with that previous wash. Let's have a look at the boats. I'm going to just put in some shadows, maybe some here, little shadow running across inside the boat. Remember to leave in some of that previous wash as well. So important. Here. These bullae ads as well have a bit of light on the left side of them. So look at that. I've just left a tiny bit of light there and you can even just even get in the shadow of one of those bullets like that. I didn't know what they call it, the float. Floats. There we go. At the bottom of the board you will notice as Docker as well. So I'm getting a bit of that in as well as perhaps an indication of a darker shadow underneath. And not just that because we're going to actually go in with some gouache later to get in some lots of sort of reflections of the actual boat. But this is a good place to start just getting in some of these dark bits reflected counterparts in the water like that. More of the boats kind of an ANC is the one to the ground like that. Doc and the front of the boat like that. This boat here I might have like kind of a grayish color coming across like that. Then the top bit, you're going to have a bit of darkness in the boat. Just picking up some bits and pieces, some little areas of darkness where you can dropping it in. You can notice even some parts inside of these boats have pretty dark. I don't have any other color besides some of this purple color lifts, so I'm kept to go with that. And in bits and pieces you segment them off. I mean, here, even this bit here underneath the book, it's fairly dark. Here. It kind of goes around the edge. There's even a couple of dots. It's kind of shadows or something in that book. She didn't have to do it. You're okay. It's mostly just putting in a bit of color underneath the boats to get in an indication of a shadow or just to anchor it down to the ground. Let's have a look, see if we can do this one as well here. Just a real quick one that they're touching go Really. What else do we have? Little bit for these ones, the windows or that boat or something like that. Some more little lines inside the boat to add detail. Detail that may or may not actually be there. Here on these buildings. Buildings, but these boat here that you'll probably be dark on that side. Just being mindful as well. Good. Um, I wanted to get in some of these masks. Let me just try to get in some quick ones like that. I'm just dropping in. This is this one here that's really quite, quite obvious in here. Like that. I'm just going to stick around about there. The good thing as well. The good thing as well is that you will find that you can add in a bit of gouache afterwards, bring back the highlights. But I like having some darker ones as well. Because we need that full tonal range. We need lot areas, we need dark areas. But we do need the really light and really dark. Here is a fund that creates a favorite of interest. We're getting there. We just almost about done really the finishing touches, a just putting in some little bits of white in here to bring everything together, connect everything up. Because I can't think of any other. It's a darkness I might want to add in here. I mean, I can think of doing some more later, but we'll see. I usually grab some whitewash. I'm going to go in with I've got two smaller brushes. You go to rigor and I've got a number four round brush and the rigor allows you to really get sharp point. Also holds more paint when doing longer lines as compared to the smaller round brush. I'm going to go with the rigor first. Let's pick up just some white gouache. I'm just pure white quash. I'm just trying to brush it off a little bit, perhaps adding a little water. Let's have a look. Where can we start? Just draw that off a little. And perhaps here and let's put in something like that. Let me go to another one perhaps here that connect them with the boats like that and be spontaneous as well within the interesting thing is that you can also bring back parts of the details in the book that was taken away. So for example, the backpack in that boat can bring that back or bit of the top part of that boat there. This is when this is why I hold both of these brushes as well because at times I get a bit more control when I'm using the smaller brush. To put in details. Where I put the sale in is the master and also it depends strategically on what's going on in the background is overwhelming. So at some points I might not, might change the actual position of it rather than use what's in the reference. Now, there's one little boat here or something there. What do we got here in the background, we've got all these larger boats, I don't think are really indicate him these ropes or a mixture of yellow and white squash. I can also just do this sort of thing. Create a bit of, a bit of these going on. Oops, that one's just don't want to be funny, but like this, you can see him. And if you go quickly as well, what you find is that at times, you know, Miss looks more realistic. You have different lines and bits and pieces just running off. Isn't one there? Let's have a look one that comes across, that's too much paint. You can see, picked up just a whole big glob of gouache. Gotta be careful. Got to be careful. I'll just get rid of that and continue on. So work with your mistakes, work with your mistakes. That's one of the big things with watercolors, you often are going to make a lot of mistakes. You have to just deal with them. Watercolors is suited to spontaneity and fresh washes. You notice I'm going very quickly and just quite carefree as well. One of the things I love about watercolors, I don't really need to worry about complete accuracy. Make it up as we go at times. But having general, generally someone's standing of perspective and composition. Or really bring you quite far. Just put in another just another sale or something that has to be sometimes there's a few minutes lines and things running up towards the sales as well like this mass. I mean, so go ahead and do something like that. This mass here, I'm going to just create some light on the left side of it like this. Perhaps even goes outside, goes further up like that. Let's have a look at this one here. In bit here. They're a bit there. What can we do for this? Can we do for this one bit of color in there? There's a couple of these little bits in here. I don't know what they are. I can just recreate something like that. Even the edge of the the edge of the boat like that is a little bit of whiteness. Just running around, coming down like this even until the water. Great. Get some little reflections as well. Tiny little reflections of the mass and stuff. Perhaps just running down like that. Simple little reflections in the water. Barely be able to even tell. It does help, does help to bring things together. You start to notice as well, perhaps he's been under here, needs to be darkened more so you can just put on these little finishing touches really of what the final piece will turn out. Looking like. Putting a few little birds or something in the sky up here in the distance, just especially near the clock tower. They tend to hang around there, so it's dropping a few little little shapes. I guess it's almost like movies making little v shapes in the sky. It depends how many you want to do, how obvious you want to make it. So you can pick up gouache and drop that in for some birds running, going across the buildings like this and just breaking up some of this blue and stuff, making it a bit more, little bit more bearable to look at. At times. It's kind of just joining up shapes, joining areas up, creating harmony across everything and sometimes overdo it, but it's good fun, It's good fun. Good. Any other thing I can think of is maybe adding some kind of orangey, yellowy reflections or something underneath some of these boats for these colors as well. I don't want to overdo it as well, just a little little indication like that. Sometimes when you find that there's too much coolness in there as well, it helps to just drop in a little bit of orange or a little bit of warmth to create some variation and gouache and a bit of watercolor paint allows, makes that possible. Just a few little strokes of yellow running through here and suddenly you've got a lot of life. Let us stuff going on. Can you imagine what's happening in there? So we will leave it as that. 20. Coastal Houses: Drawing: Okay, So we have a scene here that has a lone figure walking through on the left-hand side, there's a few figures out the bag. I think there's a dog there as well. We've got these houses which have a little bit of light reflected on the right-hand side. I quite like this scene and the stocks of contrast as it looks like the photograph has also been desaturated. So there's not really that many colors in here. I think this is perfect for beginners to start off with. And we're going to go ahead and give this a go. So firstly, what I want to do is pick myself out a marker and I'm going to draw just a frame, the H going to make this one. Just want to make this one frame them on the page. This is, again a stylistic choice. I do switch it up from time to time. Great, so I'm just going across like that. Let's have a look. Fantastic. First things. First I want to get the horizon line and I'm gonna be using a 0.6, I should have probably put it down to, let's see, 0.3 or 0.5. That might mean more appropriate. Let's go with a 0.5.3. The horizon line is just below the midpoint. So about here, something like here. Just going to do a quick indication of it like that. If you draw really quickly, you will find that it, it goes over the paper and leaves a broken edge. Very good if we wish, want to leave. Just make sure that we're not creating too hard of an age when we've got some of this water, I'm bringing it in the edge of the water. It's more of just a little arrow to remind myself to leave in later on. And little bits of seaweed and stuff washed up on the door as well. Fantastic. Now probably the most easiest part to do next is these little tree line up in the back edge. So I'm going to do this real quickly. Just something, oops, That's a mistake, but it doesn't matter. We can still continue on. I think it's always we exaggerate sometimes the mistakes that we made as if as if it's the be-all and end-all, but actually something that will not be noticed. These mountains in the edge just go up a little further. Something different. Now what I want to do is stop by, I think just moving into this part, there's a mound of I don't know if bushes or what have you in front of these beach houses. But the easiest one, the easiest sort of beach house to get in. And I'd say it's probably this one closest to us. I'm gonna get into a bit of that. I didn't know the shrubs or what have you in front of that house? Let's go ahead. There's a kind of a chimp the house that goes up, stand a bit like this, then goes up again. I'm using this reference very loosely, I k and may not even get in every single row of House in here. I really do. I sort of change things up as I see fit. Okay. So little indication that those stairs and perhaps some of these railings that kind of go down or something like that. Good. A few of those maybe a window here. Like that. Couple, a couple more windows here, something like this. And Destic, I'm going to do this top part of the house it's closest to us need to be pretty straight as well. So it's kind of like this coming down. And again, if you make a mistake and you go off tangent, just corrected and continue alone, don't it? Don't worry about it. Just continue along. This is the kinda triangular bit, the side of the house. Now this is going to be important because this is the bit that's going to have the lights on it. So we're going to need some of that in there. Simple stuff, real basic. I'm going to simplify that chimney down as well and perhaps haven't a chimney here as well, just a simple something that just pops out of the rooftop. It actually comes halfway down the booming. It's an interesting designers like a solid media on the side of the house like that. Let's go ahead and get in another age of this second house just behind like these kind of triangular. And then connect that on just like that. There we have it. We've got two I'm sort of houses. They're sort of generally the right position. It's not exactly as per the reference, but close enough. Again, I'm just trying to get in this mound of what it is really is just all these mounds of drugs and things like that growing along the shortcut and just disappears off around here where gets a misty and what have you. But most of the structure of the houses, I'd say I rounded in the foreground like this. I think just indicating some of these is really good. And you can go along and decide how much, how far you want to carry this down. Well, there's another one I just thought I'd do another smaller house. They maybe another one here kind of dissipates off until you can't exactly see what's in here. And it's like a chimney or something like that. There's another couple of houses here. Coming down the back like this. This here is another house as another triangular bit here. It's more of this side of the house. Again, this this part of the house is catching a bit of a light on that right-hand side. When you draw, just look at the shapes. Don't try to draw the house, just try to draw the shapes. If you get the shapes, it will end up looking like a house once you've done. But if you strike during the house most of the time, it's going to end up really detailed and you're going to struggle with it. So try to just reduce them down to Shapes. Often the distance it's very difficult to see now, which is just small buildings in the distance like that. So not really much in there. We have a flag here is, well, the American flag waving in the wind over here. I'm going to draw that Ian. Like that. Great. We can perhaps do a bit of fine work later on on this, this flag like that. Great. So we have been good understanding. A good indicator of the houses will go in and start scribbling in a few little fingers off in the distance like that. So there's a couple there, maybe walking around in the distance, Something like that. I always try to change it up a bit too. So you might have one walking into the scene, a few that are just smaller off in the distance. One that's here perhaps just running over to a friend over in this side has raised their hands up, change things around a little bit so that it looks more interesting. That's what I'm trying to say because you're going to want to create a feeling of life here. And these bits and pieces left on the beach at great, and look at them. You don't look like much. But once we've done they actually identify the the direction of the light. This can be like a stick or something. I think that's a dog here actually just walking into the same like that. And it could be a dog. As we get good, come forward more, the rocks and things increase. And of course we have a larger figure here in the foreground, which I'm going to detail a bit more. So it's kind of in a hoodie, wearing some kind of jacket. I'm sort of jacket and latch jacket rolling along in the beach. Kowtow Jack and whatever it is, There's one leg and here's the other leg. It a bit more detail on the pants. Here as well, like that. They're just walking into the scene. Again, there's not a whole lot of detail I'm adding in this figure. Sometime they might have like a bag or something. I just strapped in like that. And of course, the bits and pieces in the background here, and this is a log, large log here in the midground. So I'm going to just draw something like that in more seaweed. Just crossing over. Having these overlapping shapes really makes a scene more interesting. And talking about some of the seaweed here in the foreground and just through the middle of the scene as well. That helps especially bigger ones down the front. But I'm always wary of trying to change things up. The shapes of the seaweed would just the rocks and debris and stuff like that because I tend to fall into the habit of drawing the same things, shapes and what having an okay. We are certainly getting there. Getting there. I think we are ready actually to progress with the painting. Let's go ahead and get started. 21. Coastal Houses: Painting: Okay, so to begin with, I'm going to be going over the entire scene. Thusly, from top to bottom in very light washes. And shadow also indicates some Witton wit, bits and pieces while we can stop the Scott first, I'm gonna whip the sky. I've got some cerulean, but I've also got some of these gray color on the palette. So I'm going to pick up that little bit of gray. Then dropping some of that cerulean here into the sky. I'm keeping this really lot as well. Keep that sky as pretty much the lots of section of your painting except for a bit of the water here as well. It's gonna be interesting because a lot of this is actually going to be white in the water. So want to get maybe a little dry brush, dry brush strokes running across the water like this. That may be something quick like that across the water. A bit more warmth in the sky perhaps like around here just to get a bit of orange at the base. Perhaps. This scene is actually a lot warmer. And it looks a little bit in there so that we've got some blue in the sky. Sometimes a bit of gouache as well does help. Funny enough, I don't often use gouache in the sky, but it's just to kind of add a slight bit of volume. Especially when we've got such a light wash going on in there. I'm going to bring this down. Let's put in a bit of, let me get a bit of orange and mix that in with neutral tint, orange, neutral tint, little bit of brown as well in there. Let's drop that in. It's kind of like a warmer gray if you think of it that way, just to warm us sort of gray. That bring this down. What I'm gonna do. I'm actually going to start working on the houses as well. One of the most efficient way. Normally you see me do the lot of the houses first, but I actually want to leave the lights of the houses just pretty much white. What I can do is actually go into it and I'll get the tissue tissue to toughen up some areas of the sky. They I thought that was spreading too far into the sky. Something like that. Let's go and continue on with these buildings. Remember to cut around the flag as well. Underneath like this. And of course, the roofs of these buildings are actually pretty dark, darker than the background color. In fact, so just want to cut a bit around those buildings. Just a little bit around like that. See if I can pick up some green, touching green through here. I think just lacking something that I need. That's Section. Bit more depth. Layering, Witton width layering, schwa, this area is still wet. Just a great time to OTO bits and pieces that you want to change up or anything like that. They might use a smaller round brush actually for this spot. Smaller round brush. And I'm going to pick up some neutral tint or just whenever darker paint I have on the palette. This scene does not have a whole lot of colors in it. So I'm going to go through, and of course, just getting the top of this dark, just bring it down. Cut around that right-hand side of the house like that. Okay. So you've got a bit of that light coming down. A bit multiple here as well, Indiana. Fantastic. This side of the house is also going to be pretty dark, but it'll leave a touch on the side there for the the light gonna be locked here is darkness here on that house behind. Let's have a look. Where else can we drew out a bit more darkness? Maybe here. I mean, all the houses and things in the back are actually pretty dark except for the little edges. Just to A few little brushstrokes like this. Be surprised how little you need to put in there to indicate some lights. It a bit softer and lighter as we go back as well. Fantastic. Moving further down, I'm going to mix a little green into this. The base here. That a little bit of green with the neutral tint bit of lunar black as well. That Ian like this. Really use these mounds of their wishes and stuff. Bring that back like this. There we go. Looking good. Let's continue a bit of this further down like this. Struct it in that it just goes into the ground a bit more onto the sand. Now I'm going to stop putting in some yellow ocher and maybe beautiful orange, yellow or current orange into the sand area. Just combining this wash that at all just melts together. And no, I'm not really going to cut around these rocks and things like that, maybe just the figures of touch. But then we're talking mostly the mostly, mostly sandy area. I'll leave that bit of white in there for the beach. Cut around and we'll go left a bit more yellow ocher, especially. We move further down to the front, the scene foreground. Bring this all down. It will just melt together. Good. Good, good. I'm just having a look to see. Now, would you use I think that's looking pretty good. Now, I am going to probably going to just work on the figures just by putting into a bit of color to the figures. I've got some swirl blue over the edge of my grab some of this lavender color, drop it into this figure here because we've got a lot of warm colors running through in a bit of color here is gonna be good. Balance it off. Completely blue. Dropping some darkness in the links. Suddenly spread as well into the stands. So just let it do its thing. The rest of the month. Just kinda dock. I mean, there's not much you need to do imply for the other figures, this one is just so close, I thought I would detail a little bit, little bit more in the we've got the American flag out there in the back as well. I'm gonna pick up a bit of ultramarine. Just want me to Kate and drop that in a bit there like that. Then another just being makes it easier, I'm going to grab some red to get in a few of these stripes. Goods. The only other thing is, I think the blue is probably needs to be it darker. I'm just going to go in there with a bit more more strength. Just debit in there. We have it. Let's continue on. I'm going to look at what else I can work on while this is kind of drawing. That there's more of a misty sort of fill in the background. And I do think perhaps the top of it could do with another, another bit of layering. I'm going to use a small round brush. Pick up a bit of brown and a bit of lunar black together, a bit of blue mixed in there as well. Just to kind of add another color and I'm going to start dropping in a beat up the top here it's still slightly wet and I might be able to get some sharp edges in some areas. Just some sharp edges. Because one thing that's bugging me is that I don't feel that the these bits of mountain here just dark enough. They need to be slightly darker. Again, just kind of melting nicely if you let it do its think. Bring this down another Great. This side of the brush as well. To your advantage, getting leaving some of that previous wash. Was there. I'm just going to add water to this area to encourage it to bloom a little bit. Just water. Use Section. Run this flag. I'm gonna be careful. We just didn't lose a bit of color like that if you're watching out, starting to starting to come together. Now, little tissue, just a dab of the tissue here can also help to increase this atmospheric sort of soft look at the base like that. Something like that. Thinking whether the houses need a little bit of little bit of something in there, like a little just a warm color. Just detail slightly with a few marks, perhaps indicate windows and things like that. But apart from that, haven't really touched it. We might just go with that same kind of pattern that we've got here. You've even got maybe some lines or waves or something just coming, coming into the scene like this. I'm going to mix up a bit of darker paints and use this now for the rocks and bits and pieces on the door. So there's a bit a little rock here and look how dark they are. We really want to get them quiet, Doc. Can you, especially the ones here in the foreground, I'm just mixing a bit of blue to get a huge mix, a bit of blue and brown, that works quite well. Your three primaries, or if you've got any kind of dark color works well. This is a dog. Interesting thing is that you also may get some little reflections here in the water. Remember the shadows are going to the left as well. You kinda just connect up legs that use the log log or something there as well. Another seaweed or rock can be anything. These beaches, you always get little bits of seaweed that might wash up on the shore. So some of this is good just to indicate the shoreline, essentially because it just helps to connect it a lot. Like going through the scene, you'll notice I'll just sort of little jewel, little lines here and there. Imitate. Take what's in the scene. Dock in this figure more as well. Softening here on that right-hand side, I want to get a bit of that blue come through. Something like that, something that edge off. And then we'll do the left leg and then the right leg, a little bit of darkness in there. They'll connect up the legs as well, the body, the shadow of the figure here on the ground like that. There we go. Good. Rock needs to be indicated more. You can also do stuff like this. We'd see some lights, these little white highlights. You can actually use the edge of them to indicate like a rock or something washed up. And it looks kind of whites are on that right-hand side. Give that a try where you can find it. It's kind of input like improvising ways, some of the shadows for these rocks and things. So I'm going to some of these in some way that join them up nicely. Base of these logs you might have a bit more shadow, I will just dock and off a bit more. The base here. Beach landscapes, such little, little things like this really make a difference because there's not that much detail in this scene. Gives in the background perhaps a day of darkness folded legs of some of them. Shadow patterns that also pick out some areas in the background that you feel needs to be dark and doff maybe need some more color in there and have a bit of a play around just dropping a bit of few birds in the sky. Flying around. Some of them may be near the ocean. Grouping by this. And I'll call this one finished. 22. Copenhagen: Drawing: Okay, so we have this lovely reference photo of Copenhagen. And where do we even start with? This is so much going on. Let's start by choosing our pins with the same like these. Often. Look at it and it just looks overwhelming. A lot of people wouldn't even pick it. But one of the advantages of having a complex reference photo like this is that you can pick and choose what you want to include. And at the end of it, even if you exclude a lot of detail, the remaining detail Stewart, quite impressive on its own. Let's have a go at this and I'm going to start off probably with a 0.5 lines. Good, a few different lines here. We'll start off with a 0.5. Now, what will we go with basically is just this little line that separates the jetty or the era of the walkway with the water. So let's say it starts just about above a third of the way across the page there, and then it just ends roughly here. Again, it doesn't have to be so accurate. We just want to get a slot indication of it. I'm going to use the entire page, but it's actually there we go. So something like that. Now, I think one of the most important things is to make sure we get in the really large shapes here. Because we've already separated the land from the water. I think the rest of it is gonna be a little bit easier now, one of the things I would say is right smack bang in the center of the page is we've got this little building, which between the yellow building and that little taller one to the left. So this is a shorter building next to this yellow one in the center. So this is a yellowy orange color. So we can actually start drawing in this building. And if we look at where the building ends, I'd say it ends about half wave at the halfway point between the Ginny and the top of the page. So I can sort of already start to pick out an outline. The rooftops. Take a bit of time there, there's one of the rooftops. We can go in with this other rooftop here again of this larger building, for this one actually goes up probably a little bit, a little bit more. And again, this one has a kind of top section like this chimney like shape there. On top. They're going to extend out the building a little bit more. And we know that it comes down all the way to here. I'm going to just get the root topping first. Something like this, like that. Of course the building comes all the way down to the ground and you've got these umbrellas down the base, which I'm going to just try to get in a quick indication of the umbrella is actually redo them a bit later. But I think just the main thing is to keep keep it a little bit of it there. So then I such that basically you're not drawing over the top of these lines. So as you can see here, these little separations in the building, it actually makes a big difference if you just kind of leave a bit of space. I didn't know what this is, is some kind of box like structure here. I didn't know what it is. But anyway, There we go. We're going to go down and draw the edge of this building now, kinda like the side of it. One of the things you'll find in this reference picture is also, you can tell the light is very, very subtle. Sometimes you get that in reference photos and in this particular scene, what you're finding is that the light's coming in from the left. A little bit of a shadow costs to the right side of the buildings. It's hard to see. But it's certainly in this. We're gonna have to go in and later when we paint, keep that in mind. They've got a bit of that bit of that triangular shape on the booting like that. We know it goes across there. Perhaps comes down like this. Here. Let's have a look. We've got a bit of this side of the building like that as well. We've got a kind of a rooftop like this chimney just taking little bits and pieces, okay, and essentially just getting in a bit of this rooftop, these other buildings. So take your time. Certainly take your time. Leave a bit of room as well. For this building rot on the right-hand side. This I'm really not taking all that much detail to put in all these little figures. Figures, but basically there's little windows and what have you. But I will actually go through later with a, with another marker to getting a bit more detail in here. But this is just a little Stott. You will find that the amount of detail that you want to put in here, It's all up to you. It's all up to you. It's not. In stone. I'm not even trying to get in that reference picture exactly. I'm just trying to get in an impression. We know that there's this kind of house like shape here. We've got a kind of umbrella that goes off to the side underneath here that there could be, it looks like a clothes rack and someone could be people walking along here as well. Who knows? But what we do know is that there is a building here and it's roughly the same height actually, it's kind of like comes up here, but I'll have to make this one a little bit taller actually. Like that. Goes off the side. The scene. I'm not going to try to get it all in like that that that it's kind of like a window shape like that here. Like that. Chimney. Bit of this top part. The antennas and what have you. We have got a separation down the center of the building here and two rows, two rows of four windows. So let's get them in the window. Fourth window. Just keep me pretty rough with this both window. And then we're gonna go in with the second room. Take your time with this. Kind of think of it as a little peaceful exercise. Exercise, which is taking out time during in the Windows. Not getting, not being too concerned about accuracy, but at the same time practicing and taking notice of the shapes that you see. And I don't draw a window rather than draw a window, draw a shape something that looks like a window again, and reduce that window down to something like a rectangle. For instance, as you can see here, a slot switching to other pens as well. Sometimes it helps to have a few other alternatives out. I've got some flat blindness as well which are fantastic. They have a flat edge and they work very well at times to get in Windows. So I'm going to put in a few of these, but a very thin liners. Well, just in case we've got a bit of that on that side. I think now it would be a good time as well to perhaps getting a little bit of the walkway over here. Of course you have got walkway that's covered by the top on this, but it's kind of hard to see exactly what's happening in here. But I'm gonna try, I'm going to try now we got a bit of this kind of shape coming over across like this. Less really important. Rather than the tones and the general structure that you can see in here. You should be able to tell it's a tough or something. It's something covering the boat. I think that's what you want to indicate. That's not anything complicated, more complicated than that. The viewer should be able to figure it out. Rough sketch of what's going on separately sounds a little bits, just the top. Basically that's covering this boat. Of course, we can have put a bit of effort into drawing the actual boat. Now, when it comes down here, stronger curve actually like this. Let's have a look where it hits the water, does something else in the water here. I'm going to ignore that. I don't want to I don't want to put too much effort into that, but it's flat as it hits the water. And the back kind of comes up a little bit like this and joins on its longest stored a boat. In fact, it probably goes out a little bit further. I've just not included them. Just made it a little bit too short, but that's okay. A lot of the time I'm just looking at the shapes of what's going on in here. I'm not really paying attention to whether it's a boat on what really I'm just looking at. Okay, that's a kind of slanted edge, kind of triangular edge. And then the rest is kind of like almost like a rectangle with sharpened edges. That's the way that I try to simplify things down. Otherwise, it gets too overwhelming when you try to draw boat. Rather than, rather than just drawing the shapes and the bits of darkness and things that you see. So it's a way that I have adapted to draw and it's taken a while to get to this point, but it does work a lot better. And you have less pressure on yourself, especially when you're looking at that bone yet, just struggling to make it look like a boat. Remember this is just a sketch. So when we actually go in with watercolors, this do another opportunity there to add more detail and create a bit more. Contrasting all of this, we know that there's actually this mosque that goes up and it goes through the middle of the building. But because I've kind of put the boat a little bit to the faster the right. We'll have to get that coming through that building. Let's get let's just go for it. A little window here. Let's go for a few more windows. Is 13 of them in a row like this? Pick up this little flat liner or does it see us? And kind of flat liner pen just makes drawing in these windows just a little bit easier. I don't know why, but it creates a sharp edge. And especially for the windows, it does make a difference and get a thinner edge as well, which is fantastic. It just makes these irregular marks at times it's not always completely, completely drawn out and visible when here, which is what you want. You just want variations and you have a window that looks a bit more obvious and you got a window that's half finished, that kind of thing as well. Also, I'm here to have hairy, very frustrating having to draw all these windows in. I'll pick up a bit like this and getting a few roads is 123. And then this force and there's like four rows, one to not go there that's getting in the third row like this. Then the fourth row is kind of like a longer ones like this. Getting the dark bits of the windows like this, 1234, then you think she'd go around and draw the frames of the window to likeness. It's another little strategy that I had that I do use from time to time. You can just draw the actual window frames in first. And it's not an exact thing as you can see. Just taking time. Some of them, you might want to take a bit more time to actually color them in this, and then we need to do this. You actually draw out a bit more detail on those windows. Really just depends. I actually, I really liked doing these windows and then good fun once you get into it. When you start off and you look at this whole reference pictures, easy to just get overwhelming. Think it's just too much, I can't do it. But when you actually start getting into it and begin seeing I guess the basic shapes. And then you start getting in bits and pieces. You suddenly start to build a bit of confidence and every bit of detail you add in thoughts to build the picture of this scene. That's what I'm trying to do here. That's what I'm trying to do here. And most importantly, enjoy myself. Because if you look at it as just an exercise and learning exercise, just something a little bit of fun. You more likely end up with something that you happy with in the end. Because often, often when we're painting and we're drawing, when we put too much pressure on ourselves. Works in the opposite way. We need to be relaxed. Getting in this what you call it, of the walkway may change actually later. I think. Just having a look and seeing how the angle is, sometimes it appears in its steep, so you gotta be careful. Here's another bird. I'm just going to get this one in its sort of around the 21 third waypoint starting right here. Kaitlyn getting we know that it's sort of comes down like this. Maybe here actually, it'd be closer. Notice when I make a mistake, just put the line where it should be in continuum along. Happens all the time. You always make mistakes, especially when you're drawing without any pencil marks prior to that. So you just got to continue on. Know that it's also an opportunity later on for you to change things up. It's not the only time. This drawing is not always the finished product I like to put in bits and pieces off as well. Often the drawing just forms a slight plan. But I know with lawn and wash, the thing you got to c'mon is also that it does show through in the final scene. So we want to take a little bit more time to get into details. Facade of this has got 33 rows of these three rows of these windows, three times. So many of these windows. So I'm just going to make it up. And it may not be that many rows actually. A window here, There's one on hand. Tidy these up as well later. Always do these off to the demonstrations, uh, sort of go in and double-check and see whether there's enough detail in there that I'm happy with, that, whether I can improve it in any way too. But look how simple it is just to get an a few little windows like that. Not much at all. Even at the bottom, you've got two figures. You've got potentially figures just walking around in here. I'll just draw in a few people and things. Little crowds, who knows, just people just walking along in here. Be the walkway. Let me there we go. Simplify. Simplify down. Could be some darkness behind these people as well. Like that helps to draw them out like this. Now of course there's this, what should call it, the mass comes up around here. Actually, let me just let me just try to get get it in. That comes up all the way up like that. And it's actually a bird sitting on top, I believe in there's a little bird sitting on top. There we go. Got a bit of a mask there. Let's, let's try it with this one. Of course, this may not stay here. We may change the location of it later, but I think this is a good place to put it here. And this is the first building that we actually started off drawing. We're about halfway through the drawing actually. We can again, just goes through and put in a couple of these what do you call him? He's a little window areas at the top like this guy or something like that. Goods good. We forgot to put a few here. Let me just get some in. The edges. Doesn't have this kind of triangular in here. That makes it look a bit more 3D. Again, notice how I'm referencing things in terms of big shapes as well. It really makes things much easier on you if you do that. Let's bring this down. Let's bring this down and cutting through that umbrella as well. Here is, look at this one. We move people and things running around at the bottom. There's a larger kind of comes in and it's going to go up, that, oops, like this, and then comes down, comes down behind some, something like that. Let's get in the edge of it. Something like this. Not perfect. I don't put a little bit wobbly, but it will make do. Let's keep getting in a few of these others. And I may not actually get in all the buildings that are in the reference down the left-hand side. I mean, you may run out of space, which is fine. Fine. What we want to do is just make sure that we have this nice row of houses that, that join up. There's a kind of triangular looking house as well. I'm just going to bring that down, simplify, that nice simplification. As you notice, the house is actually gets smaller as we get down to the back, which is super important. Because if you want to, you want to kind of indicate sense of depth in your, in your drawing. You're painting, you need to have a kind of a diminishing look. All the objects. Say this chimney or what have you here. Coming down like this. You get into the background as well if you've managed to get in some details, great, but sometimes you, maybe you may miss bits and pieces, which is quite natural. As long as it decreases in complexity as you go down the back, you completely fine to sort of pay less attention is go down because what you don't want is for the viewers eye to be drawn to all the stuff in the background when it's not really a focus of what we're trying to achieve, but the overlapping shapes really helps, really helps. It's simplifying this down. Just basic shapes. I mean, I think I'll be able to get them all in almost all the buildings. This is great practice. Just boxes, just a little boxes basically that join up and form houses, buildings. It goes off the scene as a kind of section like that. That But that's it. It's almost gone and you can see it decreasing and getting smaller. The distance. This is again, a time were asked would have stopped going in and seeing what else I can put in. Here is another book, like a kind of a bluish colored one, starts roughly here, comes all the way across like this. There we go. That's a kind of a boat shape. This sort of squarish bit here as well. That's a bit of a top or something at the top. That that bluish top and something here as well covering that side of the boat. Floating bits in pieces here on the ground near the butt to just getting inabilities Of below the buildings walkway and it gets smaller as we go into the distance as well. You see all the people around the topic old top here. These little houses here, tiny little house isn't really see them. That's actually part of the boat. I fill up the drawer it in, but there's actually a little cabin near the pack. This is gonna be helpful to just getting some details here. Met Kevin area here as well at the bottom of this section, name to the bridge. Here anyway, got a darker line up. It's going to help to just create some contrasting areas between the boat and the bottom here. Just a tiny bit of contrast like that. I don't want to overdo it though. You do actually get a lot of this lives in the water. But underneath the Bulge directly It's quite dark, actually. Got some boat like shapes here. We are going to be fine. The windows and what have you of the boats Do you have these sort of dark sections inside? Good. Let's keep going and working on these little houses. I'm gonna just put in a few words, put them in some random places like the top, the rooftop like that. Kind of like Boathouse, something up. They maybe they just have not sure what they are. They look quite nice. There'll be these multi-colored little areas on top like that. Joining up nicely. There seem just starts to recede off into the distance, especially. You've got a few of them in. We should be good. Bit smaller as we go into the distance that these restaurants and umbrellas or no, I just wasn't seeing there, right. So keep it fun and interesting. Fun and interesting to be another umbrella just put here in the background. Award is going to have a lot of reflections and stuff in here as well. Of course, we've got all these millions of Windows and then let's just put some mean like this. Middle sections, we'll just color in getting some of the the window, the darkened areas of the windows. Some of them I've kinda like six dark and areas like that and then you can shape them. I think maybe drawing them first. It makes him look a bit neater. And that way you can then go in and just color in the color in the darker sections of the windows. These ones look a little bit sloppy so we can actually go back in there. I can redo them like that. In this one here, if you have another marker that can rule, this one's a bit thicker as well, saves time. Can you missed details if you're not careful, put too much in. So just do the same thing for all the windows as well. You'd find that actually distributing details around enough coloring, summing, leaving some as is, actually looks so much better. And even here, there's some windows that might even draw extra frames in for some of them like that. To accentuate some of the details, it might leave some of the others. Something incredible about just imperfection. The variety of shapes in here. Variety of shapes. It's something that everyone tries to get an exactly tried to get the moment. If you tried to get him in an exactly if you've got one that's a bit off, it really stands out, but if they all kind of slightly imperfect, then it looks fine. It looks like it's style like it's meant to be there if they're all kind of looking like that. Gives a few bits and pieces off the top of that one there. The chimneys and things that stick out the top of the buildings. Um, again, don't put too much pressure on yourself to get everything exact. But think of it as just a bit of fun to practice these windows. A few rows of windows, I kind of this building's been probably be thinner than I should have done it. So I can only put in a few rows of these windows in here. But making them quite obvious. Guy and I could just color, I mean, it's just call us some of them in as well. Another strategy, just coloring around these umbrella like shapes as well, That does help to make them stick out a bit more. That same with these kind of houses that we've got here. You will find that using a bit of darkness behind them to draw out the detail. The kind of white. The buildings are lots of colors of the buildings. Just going in and just doing essentially the same thing, just continuing on. More. The longer you spend doing this. The longer you spend doing this, the more detailed obviously and more representative it was Look. I really do with my style. I have very loose sort of style occupying that actually. That actually I tend to find the easiest way, although the most efficient way to putting any of these details. That's just something that I've kind of adapted to do over time. Whereas initially I think I wasn't really so focused on getting in exact details and spend really, really long time on painting. Sometimes I'm really up to you. It's really up to you, your particular style. What kind of vision you want to portray in this, if you really want to be more representational or draw a tangent to the details of what's happening in here. This is certainly something you can do. You can add more details. More particular case or not. Opting out of that. Putting in poke me just enough detail. Signify what the seas. Without doing it. You might get another boat or something in the corner here. Then maybe I could just do one that's like here and just make one up like this. At the top section come up like that. Would be nice. Just a little bit. Like that. Same sort of shape, isn't it? Stimulus sort of shape. Outline, and date birds to have. Certainly restate the book a little more. Mainly that the the actual boat, the white section of that boat really needs to be going out a bit more. This is one just using this pen to sort of find areas where I can just create a negatively. Coloring some of the bits and pieces behind negative painting. Negative drawing essentially means you're coloring around or adding darkness around the shape to bring out the detail which I'm doing right now. Actually, I'm cutting around these figures and darkening around the figures to bring out details of the figures themselves. So it's kinda hard to see, but doesn't doing it quite loosely. Of course. It's another way that you can do things. Not really people here on the pier really close, but I'm just adding some into make it look a bit more interesting. I suppose. This boat here, I don't want to think, well, how are we going to change? We're gonna need to change anything up, leaving bullets on this side of the boat. Put something here as well. There's a couple here actually, but there's not really any here. I think I'll just add in a few. I don't know. I just thought that would be nice to pop in here. The rest of this at the bottom is going to be all reflections in the water, actually. Great. Just a little reflections and it's in pieces. Of course, the buildings here in the background, they stop getting a little more teeny bit more, less detailed as we go into the back. 3d. Like this one here. Make it look a bit more 3D. Be careful. You're not overdoing it. But what I want, I've gone over a bit too much detail, too much in a specific area, it sticks out. To achieve balance, you have to make sure that you don't draw attention to a particular air unless that's your that's your focal point. Of course. I sort of had a few different areas of focus. Just kind of putting in a few more details bit of darkness underneath these areas here to like that. Wounds, putting bits and pieces. Maybe if he beats here as well, there's some windows that look to be open. The side of this building. I will just drop in a few bits and pieces. Maybe little pen would be better at something like 0.05, which is really miniscule. But just getting extra details that I struggling to get in with logic pants and this is making it a little easier. I'm just like a needle cutting through this. So easy. Drawing these squares far in the distance out. They try hatching that building a bit on the side there to see how and looked at them. But it's actually fine. I'll do it here as well. Just darken up that building a bit. You don't have to really do this. I think it's just more of a stylistic thing when you use a thinner pen like this and just draw lines in one direction at condom looks like a bit of shadow, which I'm going to try to get in any way for this side of the building. I don't need to emphasize it too much. But it's more of a reminder for me, hey, that's, that's where I'm going to create a bit of darkness. He's building, getting smaller and smaller than the background makes it harder for me to draw the windows and what have you. But you still got quite a lot of detail in here. Darkness, only two sides of the building. Here's well, perhaps looking at areas of shadow, perhaps indicating the direction of the roof tiles and stuff like that as well. It's something that you can do just to call this went into stick. You know what, I might just go through and do this side of the building to just a little bit like that. Little bit there. Just stick. And I think we will leave this drawing and we're going to start doing the painting now. 23. Copenhagen: Painting: It to begin with this painting, I am actually going to be picking up a couple of brushes. I've got a number eight round brush, and I've also got this show what this is actually say, three slash 0 watercolor mop brush. The first thing I'm gonna do is I'm machinists width the sky with a bit of this water. I've got quite a bit of gray in it, but I'm not too worried about it. I just want to get in a little bit of little bit of witness into the sky. The reason why I'm gonna do this is because we're gonna do some nice Witton wet clouds. Beautiful wet-in-wet clouds. So having this area wet already is definitely going to help. Normally, I just do it one color and then drop in other colors in there. But I want to just gonna pre whip this area first. You will actually find it makes it a lot easier to paint clouds and stuff this way. Pick up Buddhist cerulean, I'm going to drop that in there. It's pretty pretty wit. In that region, I've got a bit of gray as well that I'm dropping in. So I want to create kind of mixture of grays and some blues and the sky, mainly blues those. So one of the things I'll just do is try to get a lot wash of the soul. The scene kind of just stopping shy of the rooftops. And because we've only put the water up to around the rooftops, it won't really go below that any way unless you add some more water off this. As you can see, things that are already starting to happen. I'm just picking up a bit more darker paint to shift that in there. And to get some dark at clades perhaps in this area and create a bit of interest and a bit of a moody looking sky. Well, for some reason I get these weird bubbles on my in my paint. Some of the paints that you use can tend to do this. And so I'm just trying to just generally move some of them quickly. Kind of like these test drive very fast. More of this cerulean, especially at the top. Let me sing a bit of blue up the top. I think it comes if it comes down and it goes a little bit lots or as we move down the page, that's exactly what we want. We don't want it to be a super dark down the bottom. More sort of darker down the top. On the top amine, down at the top. Just picked up just some gray and stuff on the palate and dropped it in to get a bit of moodiness to the sky. If something going on, The different from drama going on, they're a bit different from the reference photo. Turned out a lot more grayish than actually I anticipated, but and we'll be okay. We'll work with that. Fantastic. Let's go ahead now and work on the buildings. I'm going to drop in some colors for the buildings. This is fantastic time on love this part because we just got to get in whatever colors we want. We want in here. This is a very vibrant sort of yellow. I'm going to use some orange as well. In here. The kind of, it's like a granulating type of orange like that. Even soften this edge. Here on the top of the buildings. It blends a little bit in with the buildings. Blends a little bit into the buildings. I see you got a bit of this. And also don't be afraid to leave some whites in here. This is something that I should do more of. Just a little bit spec, speckles of white in there. They keep the painting looking interesting. I might do this, for example, just the top. Joined it on with the yellow. Try to get it all in one. Go. Like what I mean by that is you want to get it to just mix. Because mixing on the palette looks on the paper. I mean, it looks amazing if you do it. If you let it just go in wet into wet. Cutting around some pieces here. I might even pick up the smaller round brush that could help holding two brushes. What am I doing? But couple of brushes have one in the other hand, this does actually help a little bit of cholera in there. Look, I'm not aiming for complete accuracy here where I'm trying to do with getting a basic wash over all these buildings. Looking for colors, different colors, this buildings like a creamy color. Let's get in. This is a top of a. I'm just putting in a little bit of gouache or something in here. Just agree to creaminess that I'll just mix in there. Then on the side of this building, Let's go in with a bit of blue or something, as well as darker color, maybe some brown as well. In this route top, Let's go with some of these burnt sienna. A lot of them actually this kind of burnt sienna color lines you, so you can actually go ahead and just stem a dean to a lot of the areas like here, even though it's just a bit of a bluish, cool color, categorize colors by cool and warm. It makes it so much easier. This is kind of looks like a pink on this building to the right. Thanks so much like a pinkish color. I'm picking up a bit of red and just dropping that in. Cutting around the buildings like that, just going to leave a bit of that white light to indicate the window frames. When it dries it actually be surprised out looks paint to the edges. You can paint to the ages one out. I'm here. This building here is kind of like what calories is kind of a neutral color. Archie put in some blue to balance out oldest warmth to the left and right. Something that I do just to change it. Or as we go, this is a creamy color. As we come down here. These umbrellas all have this creamy color. Even the sides of these buildings, they kind of pinkish color even so it can pick up bit of red diluted down. And we'll add a bit of white gouache in the red or a bit of watercolor white as well. And it does the same thing that nothing, it's not rocket science really. It's just a quick wash and letting it all mixed into each other here in the background. These rooftops are pretty pretty warm, actually. Cool. The background and kind of like a bluish color. I've added in a bit of that. Those ones up in the background. Let's have a look That's getting some little colors. I'm just going to change it up. I might put a bit of red, for instance, it's dropping a bit of red, the purple, It's getting some purple for some of these buildings. Maybe a bit of this lavender color year as well. Change it up and let the colors mixed together and turn into something else. Keep the wash very light. And that's probably my biggest tip. Just keep it as light as possible. Go out the back. This is too heavy and you just lift off some of that paint off the back. It's very, very light. Wash of whites or something like that. Some of these buildings and just a couple of brushstrokes and we can already indicate what's the stick. You can see that Sky's gonna kind of funny at the moment with this weird edge. So I thought, why not just re-wet it? See what happens? I can just drop in some other, maybe some painting here. Maybe a bit more blue or something beautiful ultramarine. Ultramarine, but cerulean blue. It because I can still influence this area while it's wet. I don't want it to draw it like that. It was looking a bit funny. And for sometimes when you have an area that's already wet here up at the top when starting to dry. And then you introduce some wet paint. It's going to bloom. And I think I might get some blooms up here. But as long as it's not just one isolated bloom, that looks a bit funny. So I wanted to just amend that over in that section. Fantastic. I want to get into a bit of orange maybe for this sale thing. He had just been an orange. Brought orange there. The flat top for that as well. Leave some of the white man, they're not going to bother with that. And this dark colors in this section, but it's not super important into lighter. We can always get all that stuffing a little bit later. I like she really liked to really liked to get the watts of these boats as well, just a bit more exaggerated like that. Now the reflection of it. Into the water, you get reflections of all of these buildings and what have you as well. So you can do something like pickup the yellow and put it in here. Little reflections in the water, just want little bits of warmth thing here due to that building. And I keep it very loose and just put in little reflections of the building here in the water. It's kind of a lot at the moment. But what I'm gonna do is we'll put in some more blue and stuff so that it just use it down a bit. Or even maybe blue there from the water. This sort of vitality color. Great. It's kind of just mirroring the buildings, the color of the buildings here. As I move further down when I want to try to do is just adding a bit of darkness. But firstly, just try to get into a bit of that color. Pick up some neutral tint and drop that in there to actually get in some of the Watts, watts of the waves serve the reflections of the boats and things like that later on that right-hand side because I've gone over it. Just dropping in a bit of the darker paint in here with a flat brush. What this is doing, not a flat brush or round brush. What this is doing is that it's mixing in with all of the beautiful colors on the page already. And forming some interesting blends and you never know what exactly is going to turn out. But I find that you get some beautiful, really beautiful mixes and situations that kind of exciting. In many ways actually tend to just let it go as as it is and see what, see what it produces. And we want to make the bottom just a little slightly darker. Like this. Paint all the way to the bottom. Test stick. Little bit of color from this book. This is these lavender color on this boat here. I just want to drop that in that kind of any way that you see that they could be some other color or a bit of interest there. Just play around with it and getting those colors. I mean, these top is a little bit funny, but I'm gonna, I'm gonna just put in a grayish color here to just simplify it down yet simplify that top-down. While we have a bit of time, I'm also going to pick up some darker paint. And this is what I'm going to drop in just well, I can't just a little waves or little wet on wet and waves running through and I'm just picking up some nutrient tint here on the palette, just pure neutral tint to drop in kind of waves that are going over the top. Like that. These sections. You can see these little waves fantastic. Down the bottom. You can get away with doing some really dark ones as well. But you don't want to put too many. And because this is just to have some wedding width, softer sort of waves, once it dries, the great thing is actually putting in some sharp ones. But you also don't want to get rid of all the beautiful color and stuff running through it as well. I think what I'll do is I'll actually make this boat a warmer color so that it looks like it's reflecting that color into the water. That's Crystal way around it. Instead of going through instead of actually going through and leaving it white. Just trying to find myself a clean brush, some orange paint to just drop a video in like that, It's tricky. Liftoff as well. Just we've talked a bit of that paint. The warm color. This looks like it's reflecting it into the water flows for whatever reason. Like hit a red bird or wherever. Walking how this is turning out. So I'm going to leave it to dry and we will get back to it. Okay, fantastic. This is all dried now and what I wanted to do is not indicating some shadows and stuff on the buildings. Now, I'm just going to be picking up some of these neutral tint that I have left on the palette. It's just really just a grayish color. To use. It's just a light wash to kind of adding in a bit of shadow on some of these buildings, especially these ones in here, indicate a shadow here. For example, this is almost because of the darkness of this is actually a little bit more, little bit more obvious than the reference photo. It kinda looks like it's becoming almost like 06:00 PM or the evening. So I am just going to go with that. And we will imply these little shadows on the right-hand side of these buildings are very light wash. I'm using mostly just water. I'd say 80% water, 20% pain, or even 10% paints. Such a small amount of painting here for the shadows, especially the ones at the back where you, essentially, you just want to imply that there's perhaps a bit of shadow day. It's not it's not too much work at all. Putting some something like that. That's looking a bit funny. You can always just lift off and soften the edge of shadow like that. Okay. Look at the boats now. Now the thing detailing the boats, the steps up to this point have been pretty loose, but what we're doing here is just bringing out some details. So I might pick up some pure neutral tint. Very dark in this thin allows me to actually go in here and put in some remaining details and things like that for the boats, for the people around these boats. I'm just cutting around this one a little as well. Little bit of darkness underneath the boat like that. A lot of darkness in the water. And this is great because I'm glad I've left. I've left the docks to loss and we've got a lot of lots to left in the water. Because we can now just do this sort of thing where we kind of around the water and create these sort of soft, sharp, sharp looking reflections in the water. Kind of just imply this shop away. He's around the boats down the center of the boats down, like separating them out and you get a lot more darkness as well. Some of the boats look a lot darker than not. That is to come out of just experimenting at times, modifying it and just seeing what what it's doing. This is all just darkness in here, underneath the spot as well like that. But it darkness here. You have to really go quite dark. Don't be afraid to leave. Certainly leave a bit of lots in the water as well. I want it to sort of look like it's reflecting the boats buildings at the top as well. That does help. Taking my time essentially in this darkness in that boat. It also helps to use this brush to draw out the, some of the details. Hope the actual boat here, as you can see, even the mosques here that goes up through there. I'm just going to document a bit. We can get into a few of these bits of rigging and things cutting through the buildings. This point we are just doing the really dark areas. Putting in the final finishing touches of the painting. You find that this is basically what brings it all together. Makes it look at pleated. As you can see, just cutting around and trying to create a bit of contrast between the boat as well and the background area. This is a kind of wider area in the boat as well. Just a bit of a It's something in there so I can actually dark and often that the background help bring it out more, more neutral tint, pretty dark. Let's have a look. What have we got in here? Perhaps written here. Sometimes you get a bit of this stuff coming across like the wooden planks or whatever running across the boat. So do that. The main void actually is a lot darker, but on one I just change it up because just change it up and make it like a kind of reflection where there's a bit of that blue in there as well. The rigging and the mask, as you can see, that kind of reflects in the water like that. You know this talk, but do with that, Like that. I draw these lines as well, a lot of these lines in bits and pieces. So sometimes I'll skip a bit of a line and then continue on. Great goods. So it starting to slowly starting to come together. I'm just going to put in this mass theme infliction of the mass as well in the water like that really helps. One in the background. This is kind of like more whites and color to it. We can use some whitewash later to change that one up a little bit so that it doesn't look, look all to a similar energy as you get back, you see that the boats and less reflective as we go out into the distance, they just lists reflections. They traveled only a little further down from where the boat sits or the reflection. Certainly when you get really close, the reflections look a bit more and they travel down further is what I'm trying to say. That's not this is not the end as well because we need to go in with a bit of gouache later. But I'm just trying to get myself in some really strong docs in areas. And especially up in some of the buildings to you might have bits of darkness in the buildings and what have you. So not in all places, but just bits and pieces. I'll just tap on and leave it there and create a little bit of contrast. Often that off a bit actually. More of these repos, these as sharp as sort of repose in the water. Very, very wet and mixed. But at the same time it's also got a lot of painting there. So much like a black mark or something. Just as important is, again to leave that some of those previous marks in the water get into few, some of these pieces as well. Little waves and mocks and the water gets some middle like this. Turning out. All right. Really just looking if there's anything else, any other dark bits I want to put it in there. I think this is fine for all the dogs will give it a draw and we're gonna get into final bits and pieces, basically just a bit of gouache. Okay, In this part of the painting, you're basically just playing around with the faunal highlights. I use small round brushes, usually a number two to four round brush. I've got these little detailing brush as well. I don't know if I'll actually end up using them, but I always squeeze a bit of fresh squash from the tube. It's reason why is because gouache is very easy to contaminate on. Once you put it onto the palette and mix it in with some other colors, are your brush won't have a little bit of color onto it soon enough that Washington's kind of grayish color. So to get that full white color, contrast, use it straight from the tube, squeeze it out and put a bit of water on your brush just enough to activate it and continue on. So I've got a bit here already. I'm just thinking. What we can do is perhaps indicates some little bits of lines long or just underneath this bird here like that. But I will bring this bowed out a little bit, tiny little bit first like this. Have a look, something like that. And then just putting report in the war. Watts in the water like that. With these with using white quash is that you have to be pretty sparing. Use it sparingly. If you use it too much. It doesn't look good anymore, so be careful with it. Here. For example, there is a cabin on the side of the boat, like just over here. So I'm going to bring that out a little bit like that. Wouldn't be too this cabin. I don't know something there. And then I can just join that up with the top of the boat like that. Something there. Or I can just shrink a bit. Let me just indicate that boat Here's won't have lost a bit of that paint. Where else have we got some little bits and pieces. I mean, the master might think, hey, I'd like a white mask for this one so I can actually put that one in and white. Again, just structure the rigging as well a little bit differently. Maybe some of it just catches the lot. And areas like that. You select. You can see I'm just using the end of the brush to do some of this stuff. Sometimes it doesn't pay to look at the scene from a distance as well. From that you can actually draw routes and bits and pieces, some little details. Kind of looking at it from a distance. Finding some areas of contrast in here. As soon as sometimes the tops of these buildings would catch a bit of a wider or something like that. So touch and gouache in here does help, especially with this sort of style that we're using gum. Look good. And they're not just for years. Sometimes you can reflect this mask, a tiny bit of white in there as well. I'll just drop in a little white bits of backwash in the reflections. That is just a way to get a bit of extra contrast in the water. Again, we don't want to really don't want to overdo it. Can also make squash with other colors. I mean, I could pick up a bit of yellow, bit of yellow ocher here and just mix that with gouache. And then I've got a more subtle kind of color, warmer color that I can use for the boats. For some of the bits pieces behind like that. Different look to watercolors. Transparent watercolors. It's just, one thing you can do is actually go over at the top of everything which is fascinating. It's something that you can't really do. In normal watercolor. Transparent watercolor. Just dropping in some of these slightly opaque painting areas. To create this kind of the CARTO ethic, this sort of not looking staccato effect. Another thing you can do is just pick up other paints and drop them in as well with the gouache, you can pick up a bit of the ruling in blue and drop it in. I'm just thinking. Moment, I will want to just create a bit more dark missing this one, this boat, Something like that. There we go. That looks a bit better. I think I had an overwhelmingly too much Guassian there before. Going over the top and change things around. You've got a lot of time to do this. This part is really, it's really up to you. It's really up to you how long you want to spend on this bit. Just detailing and getting it to the point where you feel happy with it. I'm going to add in a few little birds, often the distance, few little ones in the sky or that kind of thing. It's not be done without some birds flying around and it also helps to join the sky with the building. Something you hear me say a lot is overdid it around about here, but that's okay. Maybe you're using another brush. Let me just use this round brush. Like this. Yeah, there we go. So we'd better similar, maybe bigger. Who knows? That's okay. I mean, these little v shapes going through the sky, some may be in different stages of flights as well. So this could be a flock of birds, that little flock of birds in the sky. Some of them over the side as well. If you want to draw a bit of contrast and a bit of attention here, I just wanted to draw a bit of attention there. So that's why I've painted a flock of these birds all in the same spot because the eye will be drawn to this section a little bit everywhere. Put some of them running through the buildings as well like this. 20 bit of what, that the white is also good to indicate maybe some of the birds that are close by in front of these buildings. But we try to do them document really going to see him. So it's, these little birds may have a different look to them. These look Bowl ads on these clouds, different colors and stuff. You can use that to your advantage and just drop in a bit of that color at times to indicates some of that. Then the size of the boat. That's about it. I'll call this one finished. 24. Greece: Drawing & Light: Instead we're going to do these lovely little scene here of these boats. And they're gonna cliff edge, maybe some houses in the background. It's quite an interesting thing. Let's go ahead and I'm going to actually start off by putting in the horizon line, which is about halfway through the scene. Let me just stand up a little bit, sit up a little bit and destroy the scene. Nice and family neatly like these. Kind of just separating this page in half. I actually do separation like this. Fantastic. Now one of the things I like to do is always going with the easy shapes first. And I'm going to just do that with some of these trees. You can see them just coming in like that. There's one got another one coming out in the bank. Another one coming out here. They're just kind of both the luck with each other and the interesting about thinking about these trees that they have really beautiful shadow patterns on them and I want to preserve some of that later. So just have to remind myself to make sure that I put them in later. And not just one, sort of one big clump, but with a few bits and pieces, bits of light and shadow on it as well. Fantastic. Look at these ones here. They sort of just meld into these buildings that had behind them. I think what we do is just draw in these little bits and pieces to us and look at how I'm holding the pen and holding it right on the edge as well. Around about here, turns into the rocky cliff, but with the bits of trees and things on the top of them as well. As they sort of go down smaller, just dissipates off into the distance. I don't know what these are, little umbrellas or something like that in there. But on top you've got these little houses like this as well. So I can just drop some of those. Use a small category three or 0.1 line or I think this is just going to make these and push them back better. Use a thinner line up or objects in the background. It helps to push them back. Just a little tip. And I don't want to detail too much in here as well. So what put in a couple of bits and pieces like balconies or something like that. But lot of it. I'm just going to leave it maybe this one here because it has a bit of a 3D three-dimensional area at the back there. Put that in. Even just the general shape of it is okay. We don't need to get in all the little details running through the entire the entire thing. Of course, here in the right-hand side, you've got middle buildings. Very difficult to say. They're just more in the background, distance kind of thing. Not going to really put too much effort into those back into the foreground. And this is where we need to pay a bit more attention. Now these books, we've got a big one that comes in right here. I'm gonna get rid of this little bit of air walkway in the front there. Let's have a look round about. Here. You can give a bit of space. I'm going to go in with that boat and get that holiday in front of it like that. Sort of use the edge of the pin as well. Like that. Where does it go in and goes further than halfway of the page? It goes in more kind of like around here actually. Let me go ahead, come down like that. Then we'll just connect it up with the bottom to the top section of the book like that. This is kind of like something that's in the book. I'm not sure exactly what it is, but it's covered there. Perhaps you can draw in a little bit to the inside of the butt like that to give it some dimensionality, make it look like there's something inside it. Just a bit of space and inside it basically at the back here, it's this, this kind of rectangular shaped motor at the back here. And I'm just drawing in shapes, looking at how I can simplify them down. It doesn't matter exactly what's in there because we're going to. We're going to just leave it white anyway at the end. Fantastic. One board is pretty much done. I mean, you can just go in and getting some of these balls here. There's one like something like that. Courses bit more detail and here little bits of detail in the book as well. You've got this side of it in like this. I think you should be good to go. So that's one boat. Let's go ahead and put in the book Behind. Always like to do the one in front first. So then you're not worried about the overlapping everything just overlapping and you're missing the point. Cut in front of things. If you do stuff in the back and then work your way towards the front, at some point you're going to accidentally cut over something. So if you work from the front towards the back, in the sort of scenes here we've got overlapping, but it tends to look a lot better and it's easier for you. So keep, keep that in mind. We go, I'm just going to draw in this here, the bottom of it kinda just cuts through there like that. Um, similar structure to the other one as well. So you've got, for example, this area here, this kind of motor and the back section looks like a box at the back. There's another one out here as well. Just simplify these structures in here. Look at the MS shapes, little squares, and there's some little ball odds in the border there. I didn't realize those. I thought they were part of the boats. And then we can go ahead and indicate the front side of the boat like that. Continue along. We looked at what's in it. It's hard to see exactly what's in it. There's some kind of something and then there's a bit of section in the middle like that. It's all just white. Goes towards the back. Like that. Just cuts off. They got a bit of detail, touch, detail tone. They're just outline that section a bit more like that. Of course we've got another bird here. Sort of cuts over the top of that one like that. Again, it's the sort of inside of that boat. Similar structure to that one coming across. This forms part of this bit that sticks out as well over the top, I can't tell exactly what that is. But at these repeating structures really it's just repeating structures that go along. We're going to be cutting around. Later. As we go through the back, it becomes a lot easier. We just begin to see a lot less of what's actually inside the boat and more just the side of it. So I attend to just go in there and getting a few little bit of top like that, that top section and a bit of that engine cover at the back, that kind of thing. Okay. But apart from that, that's all I that's pretty much all I do. I sort of just simplify simplify them down and get them to overlap. Especially in a lot in wash, it seemed like this. There's not a whole lot of detail that you need to put in here. Especially when you, when you go into the distance, gets smaller and smaller. We're going to see into the top of them after a while. Of course, you've got some of these little boats back in the distance like this. Just kind of like almost looked like these rectangular type of squares that they just overlap with each other. Put another few birds in like that. Just the general structure of it. That fantastic. There's a wall here and some people kind of like walking along the walls is interesting where we can kind of get in some details of the boats. Not the bullets, but the walkway is what I'm trying to say. So I might get in a little indication of it like that. Kind of goes into the water its way. All the boats are kind of up to. You can see I'm especially here, there's a few people in these figures add the sense of scale. They're actually quite crucial to add into the scene because little figures like this give the same life. Make it look like basically makes the boats look a little bit bigger. Part of the scene. Let's look in good. Most of the sexually is just water area here, so I'm going to just go in and make it darker later this week will be light. You can actually see there's a kind of a wall that's carved in here, something like that. But most of it is just these shrubs and things like that in there. I think we are ready to get started with the painting. I'm gonna go in with a mop brush first. And I always just like to go in pretty light with the colors. I'm going to go in with a bit of yellow mixed with green to get the sort of softer, the light green color running through the trees. And what we'll do afterwards is go over the top in a darker sort of green. Start off just putting a little bit of this lighter green. Again, you can just mix it around. I like to use a bit of wet and wet in here as well. So I might actually be able to mix in good amount of that green. Going with some dark highlights, stories and dark areas later. Just cut around. There's like these obviously these little buildings in the background which don't need too much attention as we go down around this area, especially if there's more yellowy areas of this rock. I'm going to just drop in some yellow ocher in that section. Some bit of brown men, be nice as well. It just a bit of brown. And especially if the paper starts to forget the sort of skipping bits of white and running through. Love that I just leave it like that. Look so much better. Color it all. Just leave it. And the boats just going to cut around them. A little touch of yellow. The base near these figures. Little bit of color in there. I'm going to go straight into the water. I'm picking up some bit of green and I'm mixing it with ultramarine to kind of come up with a phthalo blue, phthalo blue top of color, just like in the reference, greenish blue color. And if I can blend some of that in with the water, sorry, with the mountains and the land at the back. That's good. So you see what I'm doing? Just adding a little bit of it like that. I'm just going to soften this down a bit, add some more water in there. We'll go through, cut around these around these boats. Some more blue in here. We have to do as well, is actually going there one more time afterwards and getting some didn't some software bits running through. Give it a quick run first with this. Lots of wash always helps. Of course, this is actually the dark color that we've used so far. Looks quite dark, but I know it's going to kind of blend and work. Just got to get it in. Make sure that I've got a good wash over this whole area is getting a bit more blue. Just a bit more coolness. A few like we've lost a bit of that coolness. There we go. Good. Bring that across. Whole underneath these boats like that. Or even just in here. Underneath that across. We've got a good amount of water in this section. Now, what I want to do is start feathering in just some purple, just some Doc I'd be it's for the water. I'm going to use purple because it's just DACA. Just drop some of these things, especially down the front where perhaps I can get in some larger strokes and let it melt into this area. It's in. It's quite crucial to use a small round brush for this section because it doesn't spread old too much, especially near the back. And you're feathering in a little bit of this little bit of this stuff, it's going to look better if you use a smaller round brush. This is just getting in soft. It's in pieces. A little bit of softness in the water. Reports. Want to overdo it, but just a bit like that. Good. This area here, I'm actually going to put in some yellow carry that further down. Cut around those boats as well. That there are actually lots of coolness in there as well. So let's just dropping a bit like that. Good, good, good. I will also, while I'm at it, it's not putting in some of the sky. And for the sky, I'll just use a bit of issues, a bit of turquoise. Turquoise. And some of it is perfectly just going to mixing with these green. What you can see it already kind of hands just cut around these buildings. Dropped it in like that. The good look at that. It's all blended in quite nicely. There's not anything else, nothing else I want to add in there. However, I haven't forgotten about the trees and a bit of the green I want to add in there. So I've got a bit of green, mix it up with some purple and I'm just seeing where can we drop in a bit of this dark and mix up the green? And so I know we've got some here we can do just leaving in some of that golden color running through the background a bit there. And it's all wet into wet, so it's not gonna be perfect, but when it dries, it's just going to look a bit more magical in a bit more fluid, randomized rather than just painted over top and a sharp manner, which we're gonna do is, well, mind you, I mean here for example, it's more sharper. But the great thing is the combination. Having a combination of both, create something just quite incredible. If you let it, use it, if you use both methods. And look at that, I'm just mixing mixing in a bit together like that. Wouldn't remembering to leave in some of the previous wash. As I move down as well, it does make sense to actually dark in a touch base to give maximum contrast to the boats. That's why I'm just, I'm adding some more neutral tint. It's just a quick way to getting some darkness in that bottom section. It really achieved way, but it's too quick way. It's just a really quick way rather than having mixed up a bit of green and think about what blue, I've gotten. A little bit of darkness in there. That does the trick. Not only that, you can sort of start putting it in a bit further up as well in here. It's all wet. While the area is wet. Take full advantage of that and do your best to get in some of these beautiful transitions. Here, you've got a lot more light running down the side of this building. Not building, sorry, the cliff face or what have you used? You can kind of just wing it in areas, just drag that sort of through like that. Drag that through. And getting a bit more darkness here into the cliff, but trying to just get this rugged, textured look as well. And the only way you achieve that is by drawing that brush off and just quickly scratching that brush through the area. You will also get a little darkness at the base. These, so I can just drop in a little bit of Touch of Color here at the base. Great folder. I'm going to put in a bit of color. Let's get in some of these bluish color for the bottom part of it anyway, like that. Just bring that across. Small round brush is really helpful in this regard to cut around. It's in pieces. It doesn't have to be perfect. Let's get in a bit of grayish color for this boat. Here at the base. Kind of grayish color that bring it all the way down to the bottom. To use as few brushstrokes as I can. You don't need to go in there with too much paint. I went to that because it's can be unnecessary, can just make things look a bit messy at times. Bit more careful when that sense. Let's have a look. Again, just more detailing inside. There could be a little line there to indicate some ditto of the inside section of that boat. Back here. Back here as well. Underneath that boat, the sunlight is coming in from the left-hand side. Remember, you're gonna have kind of these bits of darkness, little bits of darkness and shadows to the right-hand side of some of these shapes. Not only that, we've got some trees or something like that sort of in the way to the left, casting a bit of shadow on these, on these boats. It's not actually gonna be a 100% light. You're going to have some little shadow is running on these boats as well. And I'm going to imply that with a lot of these other ones down the back, look how simple it is. I'm just using a bit of grayish color. I don't want to overdo things. But every now and then what I like to do is grab some more vibrant color and drop it in like that. Little bit of more vibrant color. For example, this section here, I can just get that in blue. It changing it up from time to time. So really important tone revalue of these birds are important. So let's have a look at these buildings as well. I do feel that I can just get in a light wash of something over the top. Just a light wash up, maybe titanium white. Maybe here, just on this building. The right-hand side of it imply the light on the left-hand side. Let's see how else can I simplify this? Maybe leave a bit of light. They're here, for example. What can I do this one again, just dropping a bit of darkness here. And already these look like buildings at a bit of light coming to the left of them. So it doesn't take much. It doesn't take much at all. Good. Let me have a look. What else can we possibly do in here? I think we mostly done. We just want to let it dry. We'll go in with some doc. 25. Greece: Paint Shadows: Okay, so this has all dried off now. And what I want to do is get in some sharp shadows, finishing touches to bring this. Altogether. I always start small and round brush in these sort of moments, I've got a couple of small round brushes here. I think this was like a number three or number four round brush. I'm gonna go pick this one up. And let's, let's start with the shadows underneath the boats. I know we're gonna have to get in some reflections in here. So I'm going to mix up basically just all the remainder paints here on the palette. As long as it's pretty dark, we can add some more neutral tint in there. We want to make sure that the paint is just a little darker than the actual water itself. We must start with this one. And we can see the reflection comes all the way out like this. Sharp sort of reflection. The way across the boat like that down the bottom. Then we get these little ripples that just extend out to the bottom of the page. Would of course. We need to fill in this middle section. Touch like this. Going all the way down to the base because I've painted all the way through the paper actually. Normally I'll put some sticky tape on it. The bay around the edges. Haven't done it for this one. Good. Same thing around there. I might actually use a larger brush. There's not enough that it's not picking up enough paint. This one here. Just working my way through this section as well. It's incredibly dark through this region here. So I'm just picking up a lot of neutral tint here. Heap of neutral tint and just cutting around these boats. But you do also, as you can see, there's also some lighter sections in here. So it's important to not get rid of all of that light. That bidden. We're gonna go down and just bring better this water through. But at the same time, just leave some of it. Leave some white. I'm going to join it up a bit with this boat. And below. Let me go a bit of darkness around near the water to reinforce the front parts of the boat like this. A little bit more of that part's really bring it all the way at the back if you want. Good. Let's go at the back. I mean, there's actually some darker reflections here in the water as well. Just off the cliffs that we can just put in a bit of a little reflection lobbies. Just see through the back. Yeah. I think joining up the darkness on the left side with this slightly darker section on the right-hand side is so important. That's what I'm really trying to focus on at the moment. Gathering at these a bit more, creating a mall. To transition, I suppose around these boats. You get a bit more of this repos and things like that running through the water. Not just that, just small, little, small little bits like this. You can see some of them just coming through the border. That sharp a bit of water that we can imply like that. But of course, these darker bits that just run through like that. Really important. This bit of dry brush for these trees. Again, using the side of the brush, I'm picking up a bit of the stock of paint, dabbing it off, dabbing it off on the Mattel, going in there and just getting in a few little brushstrokes to imply on the right-hand side, especially some sharpness. Shadow for these trees. Remembering to leave in that last wash as well as you can see, I'm not getting rid of all those previous washes. In fact, they they all add up together to create something that's greater than each individual component alone. So you've got to have all of them together. Let's get a bit more here. Great. I'm going to pick up a little bit of darker paint and just continue working a bit. Perhaps on some of these little lines on the boats. Little details like this. Getting more of what is actually going on in here. We've got these figures out the back here too, which I think are a great opportunity to stop putting in a bit of blue cerulean. And we can put that in that one, we can leave white. And I'm not just that we can start playing around with the boat to a bit as well when I can perhaps getting one that's got some bit more bluish tinge to it like that. Kind of bluish tinge. Change it around a bit. Some of these, you can actually see both. I'm putting in some of these little mosques that aren't actually there, but I think they actually look quite nice when we contrast them against the background. So there's not really any yachts here or anything, but I will just put some in and you can even make up some imaginary ones. I just dropped the mean and I didn't know. Some bits and pieces. Let me just sum of these rigging as well. Like that as well because I did find that there was something just missing out of these ones. I mean, you can even you could put one in for larger one here or something like that. But really, we went to look for the ones closer. You can see it works. Look at that one here. I did not I did put one there. I was just wasn't accurate with it. Like this one could just be facing forward. Like that. Some little bits and pieces there as well. Bring out some of the buildings if you've lost some loss, some of them in there for a bit, you can just hash sum out. Like that. I'm just having a look around. What else could we potentially adding PM in the figures? We could put in some shoes? Not sure, sorry that the shadow running across to that right-hand side like that. Little bit of color for the legs, just darken off the legs and join them with the shadow that off in the distance. Kids coloring for the heads like that. And I'll actually go in with some white gouache. Once that has dried. Let me have a look. What else can we do here just to start with details. I mean, here there's like some kind of cloth on this structuring the boat so I can just try to get something like that in darkness there. Some pure neutral tint. Where can I get in some really dark? It's probably here. Maybe try here, just a bit. Broken line like that. Perhaps. Motor in the back-end engine. You know, there's some maybe some black areas in here for some of the structures of the boats. Bit more darkness near the shore line and even in the water, I believe that suddenly Sarah is just too little light. It hasn't completely dried yet. But if I put it in a bit of darkness and we might be okay when this all dries off. A few more little downward brushstrokes. Good. I do feel this one also needs to be just dark and a little bit like that because it's these boats near the water or just significantly darker being in shadows. So I've to blend these moron with the water. What we can actually add in a bit more vibrancy like that for the boat so that it just gives it a bit more volume. I suppose. That makes it stick out more because already it's, the tone is already approximating. The value is approximating the value of the water. Getting a few extra little bits running through here. That here you'll notice there's some shop a bits of perhaps water as well, just create some little patents here. There's multiple, multiple bits of pieces in here, really. Some smaller ones. Often the distance. It just sort of feather in a few little bits and bits. Inconsistencies, which strangely enough, make it look more realistic. Certainly getting there, I will put in, give it a quick drawing and add in some bits connecting up these little ropes. Some fresh squash. Stop I'm using has a little bits and pieces mixed in there. I just wanted to be white as possible. Even clean my brush off a little bit. Let me squeeze some more of this stuff out. On the palette. Fresh squash always saves the day. I might use a smaller brush actually, you got a little rigger brush that could actually accomplish the same thing. Let's use the rigger brush. Let's paint on it. Let's pick that up just, it's just white gouache straight off the palette. However, I will add some water to it because it's just not that's too thick right now. Thinks a little water in there to activate it. Great. Start off by doing, putting a globally in some area that, that clean it up a bit there. Sometimes you get way too much on. We've got a little bit here that just joined straight onto this boat like that. It does help if you kind of break the lines up a bit as well. Let's see. So we go in like this, for example. Then it comes down and then it just goes up to connect. And then you might have a bit that just comes down and then another bit that goes behind there and then a bit comes out here and disappears out of the scene. Bit. Maybe that just also comes through. It's P is out here, kind of like a broken, broken line. Like that just makes it look like it's catching the catching sunlight for a bit. This one is too bright. I need to tell that down Funny enough. Which is an odd delta down with a bit of remainder paint and lift on the palate. Often trying to do the opposite, trying to get it looking more, more vibrant and bright. Of course, you can see, look some of these, some of these ropes go straight onto the boat and some of them cut through others. Got some here in the background like that. Look, put in some little details on some of the boats just like the handrails and stuff on the sides of it. Rails and kind of thing. I mean, if this is a yacht and imagine was another yacht here, we can just put in another, get another one like that. Just going further up mast. Um, we can just get into another one. He had to like that for another potential. We have a look at these ones are just kind of fishing boats or something like that. So I don't really need to do much. Just a touch of light, especially on the top of these boats like this is good. There as well. Kind of catching the light. The angular sort of box-like structure of the boat. You can preserve some of that. It actually looks looks more realistic. I'm just dropping a few more in, in the background. It's not be going off the board, but I think it's still works. Stopping these ones up. Touch. Really any way that you think am highlight or something like that and you can drop it in. Good. I'll just try putting in maybe some birds or something running through, flying through, sorry the 3s. You can put the link, their wings spread apart like this with little highlight in the center. So the wings are not joined. Or you can just join them so that they look more like this one there. They can just be like one dot here and there. That works too. Making these kind of what birds in the distance, they really help to just join up steam and make it feel a bit more. I don't know, It just makes it feel a little bit more lifelike. Maybe some birds just flying along near the water like this. You can just drop in a bit more detail just to outline some parts of the boat. Really can spend as long as you want on this. You're completely satisfied with how it looks. I recommend to just spend as little as you need. Sometimes in the water you do get these little white reflection, little white reports. You can do this as well, kind of like what I'm doing. Obviously, but small little repos running through in areas like that. That little rigger brush. And funny enough, this helps to kind of join up further join up the scene. Because we've got all these white lines and stuff running on that left side. So by using a little bit of gouache and that white salt on the right side, sorry. Do you get a bit more uniformity? Sometimes you get little reflections, but normally with reflections of the mass, but not normally with objects in the far distance, you're not gonna get too much of those reflections, just too little touch of it. Perhaps. This could be one I'm just thinking, could turn this one until we thought as well, just put a bit of gouache in there and then start drawing this down. Something different. Make it a bit taller. And of course, finish it off just putting a few little, lots of these figures, the head, this one, a little bit of the head and the shoulders like this. We're finished. 26. Lighthouse Scene: Drawing: Okay, we've got this interesting looking saying here with a birds in the background. We have nicely with Lighthouse, kind of a little closer rocky shore in some way splashing around. I think this has a few unique elements, especially with the water, with the boats in the background. Even somebody who figures here where we can practice on and getting a nice little composition. So I'm gonna start by picking out my zero-point five liner. Let's go ahead and get this scene. So I'm going to go in and put the horizon line roughly halfway through the same case. That halfway through like this. I'm going to just try to seem fairly accurately. Just to divide this page into half. This is going to basically be the waterline out the back. Fantastic. Let's go ahead and get started in terms of all the little bits and pieces. So that's the easiest part, dividing the sky and the water, even the kind of rocky area in general. I think the easiest thing to do would be to put in this rocky area because we know it goes up to just before the halfway point. I'd say just about here. I've just put a little mark there. We know that it comes into the water like this. There's different sections of it. I mean, you've got area here, you've got an area sort of over here. I'm going to just mark it out. Really sort of basic manner. But of course you can take a few little indications of the rocks that are there. You can see them just overlapping with each other, that kind of thing. I'm look, I'm going to just keep it as simple as I can. And of course I'll go over the top probably with some with another line or a thicker a thicker line. But I just want to get in a quick little indication of where the rocks and everything like that. B first, just getting a little bit of this overlapping of the rocks on top of each other like this. Of course, rod on top, you've got some figures and they're quite important for the same because they'd give a sense of life and sense of depth in here as well. As you can see just a little rocks. I'm just putting in some basic shapes. You pick out a few and then repeat them along and just change the edges. Touch like that. As you get closer to the front, you'll notice that the rocks of course become bigger and they overlap a little bit more with each other as well as you can see over on this side here. Very good. Kinda just come in more. Then you've got all this splashing water and stuff going all over the top of these rocks, as well as you get closer to the front. And the important thing is getting in this sense of overlapping shapes. I think that's really going to help create this sense of depth in this scene. The overlapping rocks, shapes that are going in front of other shapes really helps, really helps. There we go. So another one here. There's actually a lot of water just running through this section like that. Yeah, as well down the base. Mckay said, that's a good amount of those rocks. I'll probably leave those for now. The next easiest thing I reckon is to put in this boat. And I'll see if I can get a smaller pen up. Good one, maybe a 0.3. Actually, if I've got a 0.3 pin, not necessary most of the time, but I do find that it does help create a bit more detail. Now the boats roughly here. There it goes up above the above the water actually up here. I'm just going to draw the bottom of that. Boy teens like that. Fantastic book does have a few little elements here. There's a kind of a rectangular section in the book like that. There's a section like that. Let's have a look. Kind of rooftop Lear. There's a section there, the back. Fantastic. And written a few little bits on top of the boat as well. On top of that, you've also got some little bits and pieces for the mast here. I mean, there's actually other bits and arrows and things connected onto the back of the boat like that. So I'll keep that in general sort of sense. Make sure I've got this large of rock connected up to the back of that boat there as well. It's kind of like dark there or just tied there somewhere. Let's have a look. What else do we want to put in? Of course, we could add in another boat or something in the distance. I think it would be good just to I didn't know you have another indication of something else running through there like that. But it's not by itself. So there's a couple more over on the right-hand side, I'm going to go in and start drawing in this lighthouse now. And I always just use my fingers sometimes just a measure out roughly how told it might be. And we know it kinda comes through, halfway, halfway through this chunk of rock here. There we go. There's the base of it like this, like that. And we'll come on and just bring up that middle section there. You can see the separation there. Of course, at 20 bit more detail for this area and just more of a steady hand I think to get in some of these details makes a really big difference. So I tend to slow down a little bit at this stage. Just to getting some small details, take it easy. Here you go. This is the top section here. The dome on the top here, and underneath the sort of area where the lamp is in there. Let's have a look a little bit of this railing to the top like that. But you can see these little shadows underneath which you can hatch into what I'm doing like this. You can just wait until later and getting some more details. There is a little door here, just just an indication of a door and actually some stairs that run down the lighthouse. And these people standing around the lighthouse, very small figures that are basically forming basically a little, almost like a little crowd of a here, but they help because they give the scene a sense of scale. Put people that are quite small there. So it's going to make the lighthouse appear a lot bigger. Even these two people may be standing near the backlog that who knows, You could have another person just sort of walking off in this direction here and another person just walking forwards as well. I think that's looking decent. Then the other thing I might do is again, I'm just going to pick up this other pinball God, it's kind of a flat edge pain. If you've got a thicker pen, you can use the same sort of thing as well, just these flat. It's more of a stylistic sort of touch. Anything else? But I can go in in the tool. Tom, Do you have any of these because you recap them. Recap them and they have the wrong lids on them and you get, which is which? Let's have a look here. Now the light source, It's something I've got to think about as well. It's coming straight from above. It's coming on with straight from above to the from the back. I'm going to need to keep that in mind. Let's put in a tiny bit of darkness into the boat, just a touch of darkness in there and sometimes at the base of these rocks as well. As you can see that it does help to create a bit of variation in here so that it doesn't look the same. Let's have a look. There might be a rock here that's kind of darker. Be inside here that's kind of darker in a fissure or something like that too. Yeah. You can pick out a bunch here, mainly near the basis. I think that's in-between the cracks of the rocks. You can see just little bits of darkness. Really helps to just indicates some of that little bit of that coming through. I mean, I'm not going to do in all every single place, but just in some spots and these thicker paint as well, it forces me to do this quite quickly, so I'm not too focused and drawn in onto any particular area. That can be a dark pit there that can be adopted here and here. And here. Just these little fishes inside the rocks, which may have a shadow at the inside as well. As you can see, it does help. Just little bits of this darkness. The rest of it is just kind of water. Let's have a look. Another rock there. Okay. So basic little bits and pieces. Dark and inside there as well. Lighthouse, I do feel like it could benefit from a touch of darkness inside as well. That frames of some of the openings and things like that. Also a good opportunity to define more. You got these little, little bits and pieces on the lighthouse as well that you can just at drawer out with a bit more strength, k kind of a little shadow underneath that door. You can see this railing here as well. It's very basic, but there is a kind of railing that goes up into the lighthouse. Go a step further and just hatch away at some of them as well? That I don't know. I'll do it to all of them, but perhaps just a few. A few in here. Create. Just a bit of difference. Doesn't look all the same. Especially with some of these darker rocks near the front. Does create a sense of texture. And darkness in here. Probably only do it to all of them. Leave, some of them may kind of lots of color, but every now and then I want to disrupt that. Basically just disrupt that pattern. Great. Alright, I think, I think we pretty much good to go. So let's go ahead and start with the painting. 27. Lighthouse Scene: Painting: So over on the side here I've got my palette. And to begin with, I'm going to go in with some of the warm colors in the rocks and simplify this. I'm just going to go in with some yellow ocher maybe mixed with some yellow which is more vibrant, sort of yellow. But just a lot little wash over these rocks, as you can see, like that. Wash of this yellowy color. I do have a bit of a warmer colored basically just a bit of buff titanium, as you can see here. Maybe the buff titanium which I will just drop in here. Great. What I'm gonna do is go into the sky, picking up some turquoise online, you use a thicker brushes well, because this is just going to make it easier for me to painting the larger area. So it's just a bigger mop brush. I'm using paint almost straight from the palette with the water mixed in. Lot of the time, if you just mix on the actual paper itself, you can get some very good results. Don't need to mix on the actual palette. If you're doing something like a sky wash or something like that, you'll find that you can actually you can pick up a fairly consistent wash of paint if you just doing one area like this, look, I'm just cutting around some of those figures going around the left side of this lighthouse as well. As you can see. Just bringing that good. There we go in and bringing that also to blend in with the ground. I've got a bit of blending with the sky and the sky and the warmth of those rocks. So it's just a turquoise see, kind of color as you can see. All right, bring that across painting all the way to the edges with this one. Cut around this boat as well. Cutting around if it like that. Oops, I forgot. And actually to get in, some of them, let me get in. Therefore, the rock, the rock. Great. Bring this down and I'll come around these boats as well. Then as I move into the water, what we want to do is pick up a doc and makes. What I do is that I pick up a bit of that turquoise color. I might dial it down with some neutral tint and also pick up some of these ultramarine blue. If I mix it in there, it actually creates a darker mix, some turquoise. Not even turquoise anymore, but pretty dark. And you want that for the ear of the water. I'm just going in like that. I'm trying to get it to blend a bit with the area of the score, but I wanted to really go up too much. So I'm just being careful. Just nip the edge. As you can see. I hope that it travels down a bit further. Here we go. We have this moving in, a bit more turquoise in here as well. Me getting you to the shore, this is what we want to be a little more careful. We leave in some areas of white near the rocks just to indicate some of the splash of the water, perhaps hitting the shore and moving near to those rocks. Just in some areas. Going around here as well, doing some little bits of cutting around for these rocks. You can see. Another thing you have to keep in mind is that we do have a lot of this breath that's coming up here in the front. So you've got a couple of options I tend to exercise both where I will actually go back into it with some white gouache later. But this also gives you the opportunity to leave out. Basically just leave out a bit of a White on the paper. As you can see here. I'm using that side of the brush. Started the brush to grate some kind of dry brush elements on here as well. Bring this down a bit more. Bring it down. Good. We've got these kind of dry brush elements, which indicates the sense of nothingness in the water and that kind of thing. And then just adding a little bit of blue in here, just a very light blue so that it changes it up a little bit. So just white all the way through, like this. At the base here. I'm not just adding some darker color in here, something like that. Getting some of these rocks, base of those rocks, something like that, needs to be a bit of darkness running through the bottom there. Of course. I don't want to forget some little ripples across the water. So I will pick up a bit of blue mix that down with pepsin neutral tint, neutral tint plus ultramarine blue. And I can do this sort of thing. It just dropping in little reports. And as we get down to the front, you're going to get more sort of choppier, sort of repose near the, near the front of the water and neat, but in the background, it looks a little bit more structured as you can see. Trickier is just to use a very dark mix and you want to make sure there's more paint in there than there is water. Just make sure you blend that as well. So see how I'm bringing it all the way to the back and then carrying it down in little strokes and then making the strokes bigger as I moved down the page, that's super important, needs to be somewhere over here as well. To keep things consistent. It makes the water look more interesting rather than having just being one color. And that's it. A little bit of color underneath that boat as well. It helps to anchor it to the ground. Here you go just a little. Again, just these little bits and pieces. Don't waiting wet, so it just moves through. Blends nicely. Good. What I'm going to do is also tried to get in a little bit of darkness into these rocks just using the side of my brush, near the edge of the water because some of these rocks are actually fairly dark and they need to be just need to indicate that I'm using some neutral tint and be the brown mixed in. It's kind of what we're doing with the pen. Before when we were just darkening some of these rocks earlier, we're doing the same thing, but we're just trying to indicate some of the shadows running through these rocks. Do it in an efficient manner as well. Remember the light source is coming from the back of the, sorry, the top the scenes so it's directly overhead. So the shadow pattern you leaving the top part of the rock exposed and then the bottom part of the rock. Little bit darker. I think that's going to that's going to work quite well. Just drop some of these seem like that. I'm just dock and this off here even at the base, that good Rock is actually pretty dark as well. It's kind of like a black this one as well. But it's hard to see them. They're just all covered with water splashing all over them. Bring out some blue in this boat. Just really brought ultramarine. Drop it in like that. We might have to straighten it up later and some more little bit more detail on the boat. But that should do the bottom of this lot house. I'm going to use just a grayish color. Like a light gray color to get rid of white of the paper here. Something like that. The rapids just basically going to be pretty dark. Just mixing up a grayish color. Let's have a look. Actually, we're going to have mixed up a shadow color, just the gray. This. And it's contrasted with the white. The lighthouse underneath. So you just coloring that shadow section like that. The good top part. Of course again, putting a bit of blue here for going to get in the sky behind the lighthouse. They're more of that gray up the top, but literally lighter color. Fantastic. Let's go in and put in some of the darkness here. Now this sharper sort of shadow underneath there as well. Good, Good. Bit more here on the side of the boat, even underneath the top of it like that. Which will help. Let's give it a quick dry skin figure that's dry now, I will just redo the shadows here. I think they need to be a little the touch darker. That's something that you have to do from time to time when you draw off the painting or if you wait for it to draw and it comes back and it's not quite the value that you're that you planned for. Go ahead and head back into it and redo it. There's no issue with that whatsoever. Don't always get it right the first time. Let's have a look what else we can sort of looking at, what else we can add in here. Probably some touch of darkness up here as well. It would be good. Kind of just bringing up this lighthouse. That it comes forwards more. Not always, but basically so that it just looks a bit more imposing. Suppose that good. Just putting it a little touch of darkness on the edges at times. That can often do the trick. Have a look. Do we need any more darkness in these rocks? We could put some more in. It's not so necessary, but for example, a little bit of dry brushing in here. Sometimes it helps to get in a bit of the extra of the rocks, that texture of the rock. Let's have a look at the figures. We can actually stop putting in a bit of color. We can get in some, perhaps some orange with some of them. A bit of other dulled down color. Just have a bit of fun. And the figures are just indicators of indicators of scale of what's happening in this scene. Rather than being super detailed. They add a sense of, yeah, They had a sense of scale. Good for the heads. The legs coupled back here, just standing in the background, the area. Neutral tint. Just going to be used to bring out some of these dark areas on the boats. Mass, for example. The little touch of detail in there. Underneath the book. We'll just darken that up a touch. Tiny little, little areas that once you have some elements of darkness in there, it actually brings out that much of the detail. The indications of this this boat commute. Like that's where it touches the water as well here. And you just want to drop in a bit of paint at the base. Their test stick. Putting a few little bits. One minute. Little small birds flying around. New little lighthouse as well. I think that would be nice. Just pick a few areas to drop in some birds maybe near the boat as well. Sometimes it's got a little bit of white in the sky. Just these little bits that you might have missed out. Make great little highlights for the birds as well. Even here there might be a couple of bigger ones are kind of thing. Make use of little incidental things like that. More up the top like that. They look a bit more randomized as well. And maybe some areas of higher concentration kind of thing. I like to use them to sort of move the eye through the scene that you're not just focused in one area, might put a larger concentration of them here to just draw attention to the boat. Then to these books, to the right-hand side. But a lot of them, as you can see a near the lighthouse, they could be there because there are people just fishing nearby or just attracted to that particular area. But I use it as a compositional element. I think that looks okay for the sky. Have a look, I think for the remainder bid on just going to get in a little bit of white gouache to finish it off and squeeze that straight off, straight out of the tube. It's nice and fresh water and continue and paint width. I've got a smaller round brush. Same one actually, I'm using that same round brush. I got a bit of water on that round brush. I'm just going to activate the squash and taught it needs a bit of water in there, even straight from the tube, It's a little thick. There we go. Let's have a look. What can we do? We can I think I'll go into this area first, actually just will the water is in getting perhaps some bits and pieces coming through here. I'm just going to just draw this off a bit. It's too It's a bit too much paint on there. Okay. There we go. And I can get him some kind of bray spray like effects of the water. And the trick is to connect on the, already the bits of white that are left from that water already connected on. Dry brush it, dry brush it on like that. Kind of just splashing over the rocks. You might even get some over on this side too. You can exaggerate. In some areas like that. Do it. We also have a mast here. One of these maybe like a bit of white in there as well. Inside the boat. We might have a little bit like that. The base of the boat, bring back some of that white into the water and connect that on with some kind of bitter the water in here as well. I'll do the same for those ones. Course. You might get a little reflection, but normally in the background it's don't get a whole lot of that. If you do put it in, just make it quite subtle. It's bring over a few little drop of white running through the water. Now, not all over the place, but a bit here and there, I think would be nice just to indicate the kind of I didn't know just a bit of movement in the water because we've got a lot here in the front. But I do find there's not enough something in the actual water itself. But all these splashing, everything in the foreground, they go into the figures a bit as well. We'll go into the figures just dropping a touch of GWAS hits. They hit shoulders that I think already drawn out quite well. So there's not a whole lot to put in, just something like that. This will just indicate some light on these figures all the way in the distance there. Whether you want to actually add in any gouache to the rocks or small little highlights. You can also do that as well. I will add in a few here and there, but not a whole lot. You got to go easy on the gouache. At times. Use it sparingly. Little bit back onto the lighthouse to indicate just some of the areas that are catching the light on the mat. Join parts of it onto the figures slightly. Sometimes you get some birds that are going through the water as well, just flying over the top of the water. So you can see, I'm just trying to indicate some of these birds in here too. But I think we finished. 28. Overhead Beach: Drawing: Hi and welcome to the video. So I'm gonna be doing today a scene, a overheads seen off this beach and simplify down a few details as so many people and tau's and bits and pieces on the beach. But I just wanted to get in a basic impression of this overhead view, these nice waves in the background and this feeling of disappearing and then softening off in the background. So let's go ahead and give this a try. Now, one thing you'll notice with this scene is that you have a pretty high horizon line. It's exposing just a little bit of sky. And you've also got bits and pieces of the, you know, the waves, you can see them just crashing through in some areas, but mostly it's just sand and a lot of people here. So I'm going to pick the 0.50.6 million liner. Let's start with the 0.5 and then they'll let me just check the 0.6. That could work as well. That's quite large, so I think we'll go with picked up the wrong one, That's the 1. So the 0.5 or 0.6, I think we would do quite well, especially for objects in the front. So one thing we will do first is we're actually getting a little edge around the scene. So I'm just going to draw it in quite quickly now, just something like this. This is just to give it a bit of a frame, not so necessary, but it's just something that I like to do more of a stylistic choice tends to look better after when you finish off the drawing. And the painting gives it a, just makes it look a little bit more refined. Engineers focus through the same white border. Same thing happens when you put a frame on it. So anyway, there we go. We've got a middle edge like that. And again, this is the 0.60.5.6, that's fine. One of the easiest things I like to start off with ease, the horizon line. The horizon line here is basically where the sky meets the water or the sand often off in the distance there it where the sky meets the water and this essentially little bit of hierarchy, little bit of water in there. I'm just going to use this generally and just put in a line here for the horizon. This something like that. And I'm going to just scratch in a little bit of detail also here for the sense of the water just disappearing off into the distance like that. Okay, So you should be able to see a little bit there. And it gets smaller as we go into the distance like that. We can get in some waves, things like that afterwards, just even some mountains off in the background which we can put in vita. So one of the big things I think that sticks out to me is just some of these shades. And there's life guide house right in the center here. The light source is coming from the left-hand side, probably actually from the top left. You can see the shadows of the figures run towards the right very slightly. We can go ahead and draw in bits and pieces and have a bit of fun here really. We've got a bunch of figures here at the bottom. I might just start here and getting a bit of hair for this figure. Shoulders like this. I usually like to start off with really simple bits and pieces like this in just work my way through that. Someone's sort of kneeling system down on the beach towel, that kind of thing. May be another person here just backwards like this. Sitting down on the beach. Again, casting bit of a shadow there. There could be another friend. Here. It looks like just lying down with the arms behind their legs, like this. And then we can just put some legs here as well for this figure here. So really important to make sure you've got this sense of overlapping shapes, overlapping figures and what have you. Okay? We've also got some these tau here and the ground. So I can just go ahead and put in a bit of that tau like that, like a base. And then one thing you notice is that the figures are below the horizon line or their heads are below the heart horizon line until you get to about here. But basically all the heads are below the horizon line. And as we go a little bit more into the scene, they start going further up because this is our level here. Basically everything from the front we're looking more down upon from a bird's eye view. Here we go. Just stop putting in a little bit of detail. Again. It's kind of just implying what you think is there. And sometimes you get tau, that little bit of this Hs like that kind of coming off like that. They could be bits and pieces running through here. They could be a bed goes something here as well that we can put in this, be creative, be creative and just have fun. Change things around a little bit. You don't have to make it all too obvious. Just as long as we have some figures in here, practice drawing these figures, it's so important to be able to draw figures. Just imply little bits of detail in here and a case or something like that is fine. We can go ahead, I can draw. Here's another kind of recall it. A little bit of a beach umbrella that's tipped over on the side. Over here. I can go ahead and draw in some of these one like that, the underneath of it like this as well. We have a bunch of figures here and then someone just standing up here maybe with some shorts on to the side, legs like this. Let's have a look. Maybe someone here as well. Looking down, looking just grabbing a drink or something like that is a container of some sort behind. So just drawing in a couple of legs quickly like that. And that may be a couple of figures here that it just overlapping. Looking over to the left-hand side, just communicating perhaps to these, to each other. Overlapping again. Let me just get some links, quick legs in like that. There we go. We've got a bit of something going on over here. Let's have a look in the center of the same. What I really like is this beach, this little life god LCI, I want to draw it in. Let's go ahead. Let's getting the roof. It's kind of this funny. Almost like a triangular shape. Always like to get in shapes at simplify them down. Okay, So that's the roof of it is going to be at the top here like that. We can move this further down. Let's have a look like this. You can get in a bit of the bottom like that. For that a little bit towards the right-hand side. Fantastic. Now, again, this is just, again more of an impression. So as you can see, I'm just giving it a one over and not spending too much time on trying to get in all the little details. But I also want to have a bit of fun and if I'm enjoying the detailing drawing things in, I'll just continue on and see how I go buy an ad in a few more details, bits and pieces because all these lines I'm going to show through in the final results. So we do want to pay a bit more attention at times. It's not just about getting things in as quick as we can, but more so as efficiently as we can. Sometimes do like to spend a bit more time in some areas and other times I just let it go. Yeah. As you can see, this is a kind of steps going down into the sand from above like that. And then you've got the bottom part of the bottom part like this. It doesn't matter all too much. Just something that grounded because you've got this big shadow just being cost on the ground. So it's not a big deal. Let's put in a few other people. Let's put in some figures here. For example, we've got someone just sort of sitting here on the ground. Again, maybe with the legs outstretched out in front like this. What we can get in bits and pieces here as well. There could be a tau here on the ground like this. Um, it's interesting because we've got all kinds of bits and pieces in here. Gears like it looks like a binge to shape like this. Bit of a shadow running towards the right-hand side. A lot of this is just just implying what is going on. And I might even have a few other figures. Could have a figure maybe kneeling down here or something like that on the ground. Let's have a look, maybe just holding onto something here. The back there. Let's have a look. What else can we put in? We could have a little kid say some figures here. We can get in maybe like an umbrella and it just stretch that out a little bit more like that. Just getting these nice sort of frilly bits of the umbrella. Maybe two people in underneath the umbrella with seats. Maybe this person is just sitting in. This person here has got an extra seat underneath the umbrella on the beach. That maybe running again often to the direction here, closer to the front of the same went up these two towels, just two people sitting here, the beach underneath an umbrella. I'll give the stem in something like that. Let's have a look. What else we might want to put in the background. A lot of it is just figures, maybe, perhaps walking around. And as we get towards the back, what you'll find is that they start to get smaller and smaller, getting up closer to the horizon line. So you might even want to change pens to make it look a bit smaller. In some areas and other areas. For example, Walmart pick a smaller liner or a zero-point three or even a zero-point one line up. And as we get up to the back, we can do stuff like these. We can add the details for the figures. Molar figures moving towards the back and get some umbrellas, something like that. More umbrellas came up, put a few in here. Could be people just sitting down on the ground. As we move further on to the background. Some people just sitting here on the ground when the beach, okay. But one thing you definitely notices, yell a lot of these shapes start to get smaller at the back. Do have this kind of beach. Again, this life god house there as well. The most part can't see all that much. So just pick up bits and pieces. And I think practicing with reference photos that can be quite complex like this. A lot of people are intimidated of it, but the way I look in is that it gives you a lot of options to choose from, so you don't have to necessarily get everything in. I mean, I wouldn't even try to get everything in. What I wanted to do is make sure that I've gotten an impression of this entire scene. I might just modify this. Find this life guard house a little bit just to have maybe like a window here or something. Just give it a bit, a bit more darkness running through there. Sometimes it helps if you've got a thicker line or some sort. You can go in there and just coloring, coloring a bit of this color in a bit of that to give it some more definition, in some areas I tend to do it afterwards. So those just thought I'd do it at the same time there. Let's go ahead. At same thing. Look, I mean these little figures here until the distance, who's going to grab opportunities to put some little details of people in here. They're running around walking in the water off in the distance. Like this. Again, you don't need to put too much in just ahead and rectangle for the body and a triangle for the legs. Make them small as you go up into the distance as well. So that you're not making it look like it's disappearing off into the horizon line. It's really important for perspective to be doing this kind of thing. I like to sometimes clump them to get them might be few of them to get a few people walking together. There could be some by themselves. Often the distance is where you just want to stop and joining, joining things up a bit more. I mean, there's all these little life guard houses that go off. You can barely see what is happening, what is happening in the head. But the main thing just get them in smaller as we go off into the distance and continuing on, let's say putting a few more, look, it's quite busy. It looks pretty busy, but have fun, have fun and practice these figures and drawing them. You've also got people may be sitting lying on the beach. Here. The arms outstretched. Example, just lying down on the beach. Just add a bit more thicker line here. Line down to the beach with the legs out, stretch. There. Could be two friends. And these are just the ones that I can see in this scene. Just outstretched and kind of maybe want to tell or something like that. Just increase the size of the Sun Burleigh. Like that. Maybe another, let's put in another figure, perhaps walking in from that side as well. More people just on the beach, just lying down you filling up some of these empty space. Up some of these empty space. Making it look like we've got details in here. Look at this. This is a little umbrella that I'm just deciding to put in like that. Whiners pretty thin on might pick up the 0.3, actually reduce some of this a bit better. Putting a little container or something. I'm just having a look to see what we can do. We might even getting some figures just walking in this direction as well. Just some queening, loose figures. This leg. A little link here. We've got another, maybe another figure here. Some shorts like that, walking in. Let's put some hair or like a hats on or something. These two figures won't even, It's not being some details and these other ones as well. So simplify, simplify. That's the most important, the most important thing to do. In the same. Let's have a little look. Let's put in a few more frequency. I'm just going to go to loose Lucia and make it look like a crowd. A crowd of people just standing around us. Simplify those legs again, make it look like, again, just a rectangle for the body and triangles for the legs. That really does help. To get in extra detail. I'm going to actually put in what you may call it the shadows afterwards. So I'm not biased at all about getting in some of these shadows. We just want to we just want a simple indication what's going on for the time being. The shadows will come later. One of the things I really like is putting in a, these little umbrellas. They add a splash of color to everything. These triangular shapes and other kind of disappear off into the distance as well, but they indicate as other figures and smaller details in here. Okay, So they really draw a bit more interests to what is going on. Let's have a look around. We might, for example, on this side we're missing a bit of detail on that left-hand side. So I want to have a look at, see what else we can put in there. We can have some people just sitting on the beach, for example, there could be a gentleman here just sitting with legs outstretched, Something like that with the friends, just in the same direction. That sometimes is tau listen thing here with something. Bits and pieces. Just keep things interesting. Figure just walking here. Notice we don't have any figures here, so I'm just going to put in another umbrella and perhaps getting getting some maybe some people just sitting underneath here as well. Legs just coming off to the side like that. There, this person here, maybe sitting straight on and another person next as well. And this will create a bit of a shadow towards the right-hand side. You get a little bit more confident drawing the figures you find. I'm getting them in particular positions and what have you is a lot easier than you think. There's another figure that I drew, another one in like that. The ones in the background, you notice this. You don't need too much detail. You just got to putting some bits and pieces and you are fine. Some of them together, some of them are pot. But more importantly, making them a lot smaller, just tiny little figures in the background with not much detail. Making them, their heads go further up on the little horizon line there. Maybe go a bit more than that. Let's have a look. What else do we like to put in here? But few more figures. Again, just standing around. Sometimes it helps to just put the heads in first like I'm doing here. Then Bodies after. Because when you have the heads in, the bodies then become a little bit easy to do because you can place the magazine and have them overlap as well. It's so important to have overlapping shapes and running through the scene. And it creates a lot more interests. The kind of a feeling of depth. Here's a few more people. I thought I'd had a bunch more just sort of near the back, walking walking around as well. Kind of walking near the beach. Someone just, again, just walking here as well. More closer by like here. Sometimes if you draw figures, ones if you just take your hand off the paper, for example, if I was just to draw a figure like this and just not take the hand off the paper you can get in an interesting looking. At times. It looks a little bit more organic, natural. Trying to do with female figure perhaps like that. Walking through, just having a look around and seeing what else we can draw really. I mean, I can, I can go forever doing this, but of course that's not the point. More umbrellas. I just play it by play by ear at times and go with what I feel comfortable with. At the moment. I'm quite happy to just continue drawing. But you could stop at any point in few, hey, I'm done with all the the level of detail in here. I think I might put in another, a kind of umbrella here. Just have someone sitting down, punch me via a bunch of people just kind of sitting down here under this umbrella. That can be just people sitting next to each other. Which of course then leaves a bit of space here so I can put in a bit of detail figures and close a bias. Well, just some small details for these four extra figures in the foreground. Here. Let's use a thicker pen to do these ones as well. It's just easier because they end the full Grammar C. And this one, I hadn't done so well, but I think we will make do with that one. Sometimes we just simplify scribbling some bits and pieces like this. And we will go from there. There we go. More people. Could be a small elongate the body a bit more. This figure doesn't look so great, so just work on that figure a bit as well. Let's have someone walking to the right-hand side like this. It maybe another person or both of them walking in that direction. Another figure off in the distance here. Again, these overlapping shapes starting to look more interesting if you do it this way. Not perfect by all means they're not perfect. They all add to the story. I think that's enough. I've got lots and lots of details in here. The other thing I might want to do is perhaps adding a few little boats off in the background. Some of them are at large tankers and so you can see them really far off in the background. They can just see perhaps a little bit of that going on there. But sometimes what you get at the smaller yachts sail through the back. I like to put in some of these as well. Makes it keeps it a bit of interest. That's a little bit of interests, something else going on in here, getting in the distance and remember the yachts kids gets smaller and smaller as we move off. And you just make these little triangles smaller and smaller essentially. But of course here in the foreground, these ones are closest. You can outline them little bit more as well. So just putting bits of detail. Good. Good. I think that should be good. Be drawing. 29. Overhead Beach: Painting: Okay, so for the painting, what I wanted to do here is basically just getting a lot of the lighter colors. I always start off with lighter colors and then end up doing the shadows, everything else directly afterwards. So let's have a little bit of a play around. Now. I think probably what's going to be easiest is if I start doing little details of the figures and the beach towels and stuff like that. First, we have to be very careful that we're not overdoing it as well. That I mean, making it, making these colors as light as possible. Okay, so for example, this little beach towel here might just put in a few bits and pieces, little indications of the towel like that. Some of them you might even leave white or what have you. You can also put in little bits of color. Or the figures. Want just like to pick up lots of pieces of paint. And I'm hearing there get a bit of blue, get a bit of a cooler colors running through. What works well I find is that if you just mix it around so you've got some cool colors and you've got some warmer colors that blend and mix with each other. Not too many warm colors. But if you do use any warm colors, I'd say just mix it, dull it down with some neutral tint or brown or something, something like that. You can even leave some of them white. I like to leave some of them white actually. I tend to get in and little impression of the clothing and what have you that they are, they may be wearing. Also you will find that might be people that just have their shirts off. A bit of I'm going to use a little bit of red in here and we'll get in some of these figures maybe just sitting on the beach. That little bit of pink in there. That it's put in some here. That just simple, such a simple exercise of putting in a little bit of paint in there and then picking up a bit of blue, bit of ultramarine. And I like to just, again, like I was saying, dropping some of that in areas to make it little bit more interesting so that we don't have all these just warmth running through the whole scene. But what happens also is afterwards when we go in with a slightly darker color for the shadows, this, all this will appear pretty, pretty light. Just really simple and not even thinking about this too much, just getting a little wash of color and that should be your aim here. Just a little wash of color to remove some of that harshness. Suppose, Let's have a look, the harshness of the white of the paper. So let's put in a bit of yellowy color for some of them. Just dab it on some areas like that. More here. Let me go. Maybe grab some blue and drop it in for some of them as well. The ones off in the background becomes a lot easier. I mean, just just use a teeny bit of red and a bit of orange, perhaps. Just a bit of warm color. Drop that in there. To color them in simple, a little dab of color. Brushes the same size as some of these figures say. That really need to do much at all. Say something like that. I, once you've got all the figures in, your opportunity now is just to put in some extra colors for the details in the ground and whatever you kind of like that tau I had up there. But for things that are a little bit more obvious, for example, the these little umbrellas or something like that, I might just drop in some color, a bit of turquoise here, little bit of turquoise, I'll mix some red in it. Let's see what happens. So we got some a little bit of another color here. But I do want to make it more bluish. Purple, exactly the kind of desaturated purple. This little which you call it lifeguard house, is kind of a creamy color, so I'm gonna go over with a bit of yellow ocher mixed in with some buff titanium. Just a little bit of that. We can see this good. Blue here. Sometimes I forget I bought from noticed I've got to get into stem of some of these so you can just draw them in a little bit like that too. Pretty simple, straightforward, just getting a little bit of color. To keep some of that. White moves on that. Watch off the page. Splashes of color here and there. What I'm gonna do now is work my way through with a smaller wash brush. What i'll I'll start off doing first is probably the sand. I'm going to use a bit of yellow ocher mixed in with this buff titanium. Lot wash, very, very light wash. I'm just putting mostly water in here. Let's start off perhaps. Start off like around here perhaps and Mary being cut around, the figures and everything else. But if you get little bits of white in there, don't worry about it. Coming across. Just the waterline is just there, so it really would just cutting around. I'm a little bits like that, but trying to get in this sand, I'm making it definitely little bit lighter than the reference. The sand got more, little bit more white in there, but I think this is going to be fine. I just want to create more contrast it with this sort of decent wash over the top that you got all the way up to the back here. Just the at the back. You can't really see exactly what's going on there. Simplify and mixing is fun if you get a bit of that college just mixing in the yellow. The figures or umbrellas. Don't worry about it, Just continue on. You're not gonna be able to get everything in exactly. In love. I love when beat some pieces and mixed together. It just looks more natural and spontaneous. Gives it a different kind of feel. Rather than it being looking to put together into Ford out. More here. It's move this downwards here. Let's cut around some of these, cut around that tail again, here we go. So it's okay to leave some of that town. What? Some of these umbrella rod gone down too far, but we're not gonna be able to tell the difference anyway. That, that Let's move this down. And we are almost done. Almost done. Here we go. Notice as well with what? The sand does have a bit of texture. So sometimes I pick up a bit of wouldn't believe it, but I do use a toothbrush at times and I'll pick up a little bit of this and just spray it. I'm onto the ground. While I pick up a bit of brown or a bit of darker paint like this and just give it I don't know. It just gives the ground a bit of texture and make it look like perhaps as footprints and what have you. And of course some of it goes on top of the figures and that kind of thing. But for the most part, it actually looks pretty good and it's not too obvious a little bit like that. It's just a shortcut. Kinda make it look nice footprints or textures in the sand. Let's go ahead and now let's start putting in a bit of blue for the water. And then they give me a second. Let's pick up, pick up this wash brush again. I'm going to use ultramarine with a bit of ultramarine plus trillion. Start off the back here. The reason why I'm using ultramarine is because it's naturally a bit darker. Because I'm getting in this indication of some of these these little yachts want to create more contrast around them, which is why I am going darker. Good. Step. It will shift and merge a little bit with the sand. You can make it merge more actually. By adding a little bit of water here. The edge of the sand like let me I want to just lighten up this makes a bit more as well. Shift some of that color across. More darker in the back areas, but for the front area is not really much cut around this. There we go with a color. Putting a bit for the sky and cerulean blue for the sky. Lighter, actually really just almost all water. Just drop that in. Fat. Here we go. Good. We've got all the light colors in. Now I'm gonna give this a really quick dry and then we'll put in the it's in pieces for the shadows, dry it off now. And for the next step, what I'm gonna be doing is picking up some darker paints to stop putting in the shadows. I've got a bit of darker color here. It's lunar black. But you can use neutral tint. You can use your primaries mixed together just to look at getting a darker color perhaps with some bluish, bluish kind of Tanja lot to make it almost a slightly perfectly tinge. That works well. What we'll do is I'm going to start putting in maybe a lot of little wash of shadow on some of these figures just on the backs and what have you. And then not just darken it off and where we get down to the legs. This is where I actually created a little bit more of a shadow here on the ground like this. The reason for this is that it accentuates the feeling of light, the edges, the strength of light. That's why I sort of the dark, the shadows are. The stronger the light tends to appear. Let's have a look. What else could we do? We've got some over here in the distance. It's quite not too much. We need to do just putting the legs a bit of shadow on the right-hand side with figures because again, the light sources coming from the left, we need to make sure that we've got enough of these indication of the shadows. Here as well. Underneath this umbrella, we're going to have a bit of shutter on the ground. Not only the dev bad but underneath the umbrella. Sections like that to kind of join on like that. Look bit of shadow for the back. These figures like this. You're already noticing as we start putting in the shadows that the light is starting to show through. Quite obviously. One of the tricks suddenly add in the shadows and it's really begins to make sense, but you have to do it spontaneously. Don't spend too much time thinking about it. Just a little bit of hello, I suppose on the edges of objects, a little bit of this darkness on the edges of some of the objects. And just let it go, let it dry. I mean, here there's a there, for example, here there's a bin or something, some kind of object there. Someone walking like this. Any way that you can just simplify this down? Even with these umbrellas, look at that. We've got perhaps a bit of darkness underneath the umbrella is moving over like that. That right-hand side. There we go. Figures. The shadows just bring everything out. It's really quite amazing. Just to, just a dash of color underneath like that can make much of a difference. As we move into the background against simplify and basically simplify and lightened some of these shadows a little, but you still want to follow that general. Suppose that a lot at and running towards the right, they all have a bit of shadow or something underneath them, especially the ones in the back. You just you'd want to be careful not to add too much shadow in there. I'm here as we start moving towards the call it the little beach house. Just going to put it in a bit of shadow underneath like this. Really quick. Just runs under like this. Towards the back. That there we go, bit of shadow underneath there and of course, perhaps a bit like this just joining up with the legs of the stilts or what have you of this lifeguard house. Just some details. Here is actually a bit darker. Just under there as well. I'm just gonna talk and make it look like it's a bit of shadow underneath. Top of it will be lighter. Just going to follow the same pattern. Let's get some more shadows in running towards the write. This, like this. Notice how little work it is really, it's just putting in a bunch of lines. Thinking how quickly can I, not quickly, but I guess how efficiently you can I drop that in there and imply a shadow. And as long as all the shadows consistent with each other isn't going in the same direction and what have you. You. Absolutely fine. It's going to look consistent and realistic. Here's another bunch, couple of figures in the foreground here I'll just emphasize a bit of darkness in there. Let's join up the legs better, like that. This could be some shadow underneath this umbrella and that's like kind of covering these figures as well. Now you get something like that. Two or more figures. The shutter running towards the right-hand side, just system sees the key. Just a little bit of shadow underneath these ones as well. Good. Fantastic thing I forgot to do is to get in some little mountains in the distance. I wonder if I can get summing quickly. Here. Just a bit of something. Mountain off in the distance sharp and north. A bit sharpened off of it is I'm, I could even just repeat them along here as well. Just off in the distance soft in the bottom of the water. Destic. I think that is looking at decent. Let's go ahead and put in a bit of indication for the waves. And I like to use some kwashiorkor and little tube of white gouache, flat brush. Dry it off. Pick up that white gouache straight from the palette. What we can do is stop going in here. I can just start putting in a little bit of this running down, be part of the water and little bit of that white areas. Just pick it up. I just have to pick that goes straight off the pallet so that it doesn't mixing with anything doesn't become a 20 sort of color because it often doesn't stay white for very long if you using it in conjunction with any of the other watercolors, it's very easy for us to just start looking quite messy after a while. So little waves coming in from the distance like that. Fantastic. Really. Now let's shift the finishing touches. I mean, we can go in and getting some extra details on the figures. For example, you might have been read and thinking, I'll just pop in a bit of red for some of the, the faces of the figures or kind of thing we might want to, for example, I've got a bit of gouache as well, so I can put in mix the rig with a bit of the white gouache and create inability details for their arms and legs and stuff like that. More so for the ones that are closer, I find that the closer ones tend to be better if we detail them slightly more red, pinkish in areas. And we can mix a bit of browning as well, just dark and it off. Getting some few different skin tones and variations in here. Details. Because indicates some of the chlorides as well. Loved playing around with quash. And at the end, because it really allows you to some details and finishing touches that would normally be very tricky to get in any other way. And I don't want to remove the beautiful wash that you get in some areas. So I find that using Bosch at the end gives you the best of both worlds you can get in a consistent Washington, the end. When you're doing these little bits and pieces, you can just go over the top of the darker areas and still getting the highlights and little details that normally you might miss out on. So I quite enjoyed this part. Here is a bit of maybe a bluish top of gouache. I can mix in a tiny bit of cerulean blue in here as well. We can get in some bluish color for some of these figures in here, of course. Of course, some of this stuff will not be too detailed. We can actually go in afterwards yet again and put in a little bit more, a little bit more color as well, darkness scenarios, but these little touches of blue really help. I find. It. Kind of went the Windows software, I'll put it in a bit of blue in there as well. And sometimes you then start seeing the areas and just try to balance it out. Like that. The blue funny enough, contrast so well with the sand and detailing, the umbrellas and the bits and pieces and stuff in the background. Looking good. So if we look at putting, put on a bit of hair for some of the figures that's just pick up some dark a color. I'm gonna use a bit of brown and a bit of maybe to this neutral tint just mixed together. For some of the figures, especially the ones that are closer, them a little bit of a hair and then just suddenly brings up details that you didn't think were. There. You start seeing seeing bits and pieces like that, some longer hair like that, that got kinda had a hat on, but we've gotten rid of it. Some of these figures, hip person there as well. One but because we've got so much detail in here in terms of like all the some of the bits and pieces of figures and what have you, sometimes you'll find that just a touch of color in there. It really makes a difference in the background. I don't really bother too much and just dab a bit of color there for their heads perhaps. But as we move further back, it's not a problem. You just kinda just leave it at some point. Let's get in some little birds in the sky. I'm just going to drop in some darkness here for some of these birds, especially in the sky where it looks quite at times where it's just one color. Having a few birds here like that really helps. I like to do them in different stages of flat, some of them with the wings spread apart, it bigger, but keeping them apart as well. It's nice. You do also get some that are just perhaps sitting on the stand and little bits of debris and stuff on the sand as well. On that really helps too. It's some detail and interest in here. And we're almost done writing up a few bits and pieces. I'm not want a bit more darkness underneath with the legs like that. I'll call that one finished. 30. Rocks & Lighthouse: Drawing: Okay, we're gonna be doing a lighthouse scene with all these rocks, interesting details in the foreground of large wave coming in. And it's quite a complex landscape. And I think this is going to be a good one to do. It's going to be lots of fun. So let's pick out a few ends. I'm going to be grabbing a bunch of pins from that point to 0.8. Also a few liners. Again, I do use different variations of lameness, but at the end of the day, if you've got a 0.5.7, you can actually use that for the entire drawing. I just like to have some variations of lines and what have you in the same. That's why I tend to pick out a few different pins also with the objects in the background. Sometimes a thinner pen helps to push them back a bit, but it's not, it's not a huge deal. Let's go ahead and give this a try. So we are going to put in the horizon line, which is roughly just above, since I'd say it's about here. So I'm going to Good, nice little line in here. Let's put that in. Keep it quite straight. I'm probably going to paint right to the edges of the paper as well. And probably the next thing that I want to do is just to get in a bit of this indication of the headland at the back. So there's a bit of land at hearing and it's on a hilly area. And that's actually where the lighthouse actually sits. And we also want to look at where these hilly areas finishes off and where it touches the water and goes into the water, it's bad. That two-thirds of the way into the page. So I'm just marking that out roughly around here. And we know it kind of goes up and then comes down like this. Fantastic. There's a lot of little details and smaller rocks and things like that in this area as well. So that's something that you can imply if you'd like. And sometimes that's why I like having a smaller pin like these. It just helps to getting these little details, little rocks and even not going to draw them all in, but perhaps a few of them here, they're just scribbling in little bits and pieces like that. There's all little posts and things here is where you can actually see just a bit of detail in there. It's hard but tiny bits and pieces, so it's up to you. I think there's little, looks like a little shack there or something, but the main thing is that a lot of this is going to be done a bit darker in the background anyway, so we didn't need to really bother so much. Another thing to also keep in mind that the light source looks like it's coming almost directly, directly above. It's gonna be interesting. I might have to change that light source a little bit to make it look like. There's more shadows potentially costs in a certain direction from the rocks. I'm Mike, just sort of bring that shadow forward so that the light source lights or just straight up maybe to the right. So I have the shadow is going to the left a little bit. There we go. We've got a bit of these, the headland at the back. Now, I want to put in some of these bits and pieces. Now before I do that, I'm just actually getting a little element here of the coast. We think all these rocks and what have you here. Look, I'm just going to make up some of these and put in generally indication here. The good thing with these rocks is that they all come in different shapes and sizes. If you like, you get the mean exactly as the reference picture, give them to overlap the way I think that's the trick with a lot of these rocky landscapes. These rocks that overlap with each other really help to create a sense of depth in the scene. So just dropping in a few here, take your time. Certainly take your time. The pins to have gone. I think you've got to 0.5 using a thinner pen to fall. So now you've got something out in the water there as well. There's one Flatow one and then one with a bit of an edge, for instance, and that goes into the water like that. And a few bits and pieces over here. Let's have a look. We've got another one roughly around here as well. Into the water. You might have a larger one here in the full grant. Often you find that shapes objects. A little features like these will increase in size as we, as we of course, coming to the foreground. There we go. So just picking out some small rocks and things and some of them can be an odd shapes. I always get into the habit sometimes of doing them too similar. So remind yourself to change it up a bit and create different shapes of rocks because they all come in different shapes and sizes. Of course. Some of the flat as some of them a little bit rounder, some of them more jagged. And they go all the way out, actually, quite a few out of the distances. A big one here, pretty big one here, kind of overlaps, actually. See that before, but it overlaps with another one of these. And little ones next to it like this. Another rock here, little one at the back there. And interestingly, we do have a few figures. So I might change this up actually an add some figures perhaps a bit closer, like they could be someone just here standing on the rocks just trying to get through this scene, walking through like that might be interesting bit more interesting than having a being with the speed of rocks all over the place. I just want to not just change it up a bit. If someone walking through here hidden an arm or something and maybe the carrying carrying something at the side like that can even have another person here just walking through together. So a couple of figures, they're standing on some rocks or something like that. You can just make it up. Getting in a few more of these rocks and overlapping. Make sure you create overlapping shapes. A little ones here as well. You can see just gets a bit messy in this section like that. But having the smaller ones mixed in with the bigger ones, again, gives a sense of variation in this whole area. The shapes that I'm putting in here at the end of the day. There are so many different variations. There's another one that we can have another one here and look, there's one overlapping. You can see these kind of smaller round rocks in years well, taking a bit of that reference picture and using that as a nice little guide. What I'm going to do, again, I'm good Really. I think exaggerate the shadows a bit more and have some that are kind of going towards the left, more to the left. So these ghettos perhaps step some areas where it's just kind of looks like saying there's something in here so that the rocks, they make sense. You might have bigger ones that are just casting shadows over the smaller rocks as well. So I think this can take quite some time, really depends on how much that Tom, you want to spend drawing this. When you draw it and make sure you go in and draw the shape once and just leave it be deliberate in the shapes. And especially if they look imperfect or what have you. I think that's actually a good thing. Don't go back in here and try and correct everything up and make it look. Try to make it look. Feet total. Think. At the end of the day, the sketch is just a sketch just to get in basic details of what you have in here so that we have a good foundation for the painting course with line and wash. There is a bit more There's a bit more drawing required because we've got the pin that's going to show through at the end of the day. I try not to overdo things. Certainly keep it loose. Overlapping shapes like that. There we go. We've got a water running through here, so there's not all that much we need to put in just yet. Let's see. I've just spotted a little bush here that just comes up there. So just remind myself to put that in there. There's lots of green here and it's so to smaller bushes that run through. You can see just run through the hills. Go around here. It's a green running through here as well. Yeah. Goes up like that. Let me start putting in these little houses is small. One here is to the left of the main lighthouse, going to get the roofing. Just something like that. This is where I might want to swap to a smaller pin as well. I've done that quite a thick line up. But if you use a thinner pen like this, you can often get a bit more bit more of a subtle line running through the back leg in another house here. Again, simplify down, simplify down like that. Okay, there's actually another one here as well brought in front. You can barely see it just in front like that. So we'll just indicate a bit of that one. Got one here running towards the sawed and we just put this. Now it's there. I don't know what this is. It's some kind of the edges like a taller building and you know what, I'm gonna get rid of that. I don't want to put that in. It just looks a bit like it just looks a bit funny. I don't want it to detract from the lighthouse too much, so I'm going to leave that out. Gets the edge of the lighthouse. Little, little details like that. There's actually another HU, let me just draw a bit of that in these kind of comes out to the age like these little like that rectangular section. And at the top is kind of this random dome like this. That's just joins up a little bit with the rest of the insides of the lighthouse. So that's seven. I think that looks good. Another thing I might want to do is look at this large wave here and just indicate where the error at the swell is. The way basically here, we got a bit of crashing waves coming through like these. Really this wave just goes all the way out like that. And a lot of frothy bits here on the shore as well. But just an indication also indicates the directionality. Let's put in a few figures here in the background as well. In some might just be standing around 20 little recede into the distance. They help to create a sense of depth. You can seen say, if you make them really, really tiny, you will find that you can indicate people walking around on the beach or maybe having a swim. Oh, and I have some people standing rotten the water that I think we will begin with the painting now. 31. Rocks & Lighthouse: Painting: They said, Well the fist step, we're going to go into the sky with the large wash brush. I'm just going to do this very, very quickly. I've got some spirulina in blue here on the palette and just want to keep it white lot, okay, so I'm using about probably 80% water or even 90% water in here. I want to keep that sky really lot. Just adding in a bit of extra water, maybe tiny bit more paint in hand, but really keep it quite flat in that area of the sky. Now might have something consistencies like that, but apart from that, I'm going to just call it everything in. It's so crucial to have a little mop brush with a fine tip like this because it just allows you to cut around and everything else. Say, a quick guide doesn't take much time at all. All right. What I want to do now is start working a little bit on perhaps the water and some of this headland here as well. And what I, what I want to do is pick up a kind of turquoise color. Do have some turquoise, but you can of course, mix a bit of green into cerulean blue or into your ultramarine blue to create a bit more of a turquoise color. One important thing to note though, is that you want to make this darker than the sky. It's a midtone. I'm going through, going through the back-end like that. Some bits may go up into the sky. Don't want that to happen too much. I'm just being wary of that as well. So not just more pop a bit here if it just gets a bit soft back there, That's okay. Here we go. Going in and I'm just dropping in a bit of this color and trying to leave some white in there as well. So as you can see, notice I'm doing this way like that. But then behind the way I've got ICA, bits of water like that. Just painting around the white most and wanted a bit pretty docs doing here. Underneath this wave. It's kind of lots or actually I'm going to just make that a bit lighter. Wave coming in. That's about it. I'm going to go in and just keep on feathering and a bit more detail in here. And if you can leave a bit of white as well in some areas, go ahead and do that. It just means that you don't have to then repaint any of these, some of these white bits. Later on. I like to leave a bit of certainly like to leave a little bit of white in here. But make sure that you still getting this lovely turquoise color. I'm not to foster that cutting around the rocks. If I get I get around it, that's fine. Otherwise, I just kind of leave it. Carry that blew through it. That's okay. Like this. Bring it down. Cut around these rocks here. Run these ones as well. Fantastic. I'm going to put in some color now using a smaller brush into the background and let's get some green beauty of undersea green perhaps. Do we have all kinds of greens? Always remember that greens just a convenience color. You can mix up your own just as well. Going with a lots of sort of shade of green. It like this. I always like to start with the lots of colors. If you guys notice lots of colors and then go in with dark over the top, it makes things so much easier to layer, ensures that you don't miss out any of the lots of times that might be in here, which is often what brings out all the darkness. Just drop that in. Just stumble that brush around this down. I'm going to pick up some yellow ocher, maybe a bit of Buff Titanium which just drop some of that even at the base like this. Good bit more here. A lot of this is just painted wet into wet. And at this stage, again, we're not getting in really any detail. All we're trying to get in is just an indication of the lights is seen. So here on the beach, I'm just going a little bit lighter with some of these sandy looking color. Folded rocks. That's the great part. We just want to put in some warmth in bits and pieces in here and change it around a bit. You can even pick up some grays and stuff, but it's all kind of warmer colors in here. But I do mix up those. You can see are just change up the warm that color is at times and get the rocks and so that they don't recall. Oldest, same color. We've got some rocks that are a little bit darker, maybe slightly cooler hue, but most of them are just warm colored. And look at that just takes a moment of his sick and literally to just paint. Some of these. Don't get too caught up with the color of them. Rather than just look at how warm and how warm they are, just alter it. Some warmer than others. The saturate, some of them get a bit of orange to make some more saturated. Okay, but coarse rocks and nature come in all different colors. Making sure that you are having a variation of those colors are so important. Some white looking ones in areas is follow the ones in the water will need to dark and up a bit more, but this is just creating a kind of lighter color for the back. The lighter bit of the rocks. So don't worry too much. Putting a bit of color like that. Let me go. Water in the back in this section like that as well. I didn't want to cover a lot of this up. At the end of the day if we end up painting to the edges, so be it, but don't force yourself to sometimes like to create these neat edge like that. Pick up some of that water. Suddenly let's have a look. We're looking good so far. I'm going to put in some more greens at the back. A smaller round brush I think might do the trick. Just a bit of green, bit of green like this. Because that barrier is already, if you think about it, it's almost dried. This is going to create a little bit of texture and a little bit of this feeling of lights and dark, perhaps some of these little shrubs and things just growing off the edge of the area as well. We can even put in drugs and things that aren't really there. For example, here you might be part of a tree or something. A couple of largest shops to the left. Drop it in. Don't be afraid to add some darkness into this mix because it will make your lights stand out. If you do this. I'm not going to overdo it though because it can be easy be easier to stuff it up at Toms if you've got too much running through too much busy-ness in here, but I think there's a good amount in here for me to actually continue on and put in perhaps the thoughts and the buildings are gonna be kind of a brownie color. I'm gonna mix it with a bit of burnt sienna. Burnt sienna and brown. These purply color here. And I'm just going to go ahead and get in a lot sort of wash of color on this side of this building like that. We're going to leave the right-hand side of the building. Perhaps I'll I'll get in half of it like that. Keep it a little bit. I should get the whole thing, but I'll soften it down a bit. Leave the rooftops. It's putting a bit of this one, just the rooftop here, around rooftop and this one here like that. Little bit of that and just little bit of darkness on the roof. Lifts of the buildings. This lighthouse as well. It's got a bit of darkness, the center of it like this. But really most of it. Tiny bit slither of darkness to the left. Lot of this stuff is actually gonna be done with a bit of dark and paint later. We can already start getting a little bit of darkness in that area. I want to preserve those lovely white. So let's have a look. I think we are almost done with all of these warm areas in here. As you can see, I'm just dropping in a little bit warmer. What kind of white colleges to buff titanium color in here as well for some of these rocks. But remember a lot of this stuff you can do later on as well through that later on. But I'm just wanting to put it in a bit of weight and weight. I love using wet-in-wet. Fantastic. So I'm going to start working on the rocks down below. And of course, let's pick up, I might just pick up a little flat brushes, small flat brush I find with rocks using flat brushes are great because rocks are kind of of that slightly angular shape. And flat brush works well to cover those angles and shop. It's sharp new details on this. As you can see now I'm just putting in a bit of darkness on the left side of some of these rocks and telling them coming cover over the right-hand side as well. It's just a bit of neutral tint. And put some Luna black here on the side. And then wrapping that in and maybe a bit of ground as well. Good at maximum contrast for some of the rocks as you can see in the water, some of them are very dark. Want to make sure I've got enough contrast in for some of these guys. For the rest of them. For the rest of them. Not all of them are actually that doc. This one is really feel most part you just kinda wanted to touch and go and on these rocks because these ones are in the water, there's not really going to be I don't want anything in here. It's mainly the ones that are on the shore to the left that might have a bit of a shadow. So for example, we've got these rocks here. We can just put a bit of darkness on that left-hand side of them. Maybe be more coolness, little bit of blue. Blue in here. It lifts off some of these rocks here. Trick is to just get in an indication of that shadow but not overdo it. Leave the lovely, warmer colors on here. It's going to look much better. Here, here. Here. Destic. More of this darkness and some of those areas. Again, this is where you can start putting in some of those shadows. For example, running to the lift. Some of the rocks may have a shadow running to the left like that. Indicates some of them but not bothering too much with Holden little detail of that. Just mainly the shadows of the rocks onto the left of the rocks. That's quite important. Lovely softness running through here. Good. Just leave that bit. Stopped working a bit more water. And what we'll do, we'll add in another layer of just another layer of dark bluish turquoise. See paint in here because I've just noticed there's actually little ripples and things running through it. I'm just mixing up some of these little takeaway see pigments and they join up with the rocks as well. Look at just getting these tiny little waves around this area of the shuttle. Layering it over the top of all this, the white bits as well. Just having a look at that reference and trying to get in that little kind of pattern of those waves. We want to make sure you leaving enough of that previous wash as well so that you've got, you know, combination of tones running through here. You can see them actually go out the back of it, but they just get more subdued as we go out in the back as you do near the shoreline, you do have more of these largest waves that drawn out with the froth. It looks quite choppy in here. That's what I'm trying to do. Just indicate a little more detail in here. And hopefully when it dries, it will identify a bit better. These waves coming together also makes sure as you go out into the background, decrease the size of these waves so that one was a bit large, but I'm talking about you make the waves a little closer to each other. Also lighter and smaller. As you go back. Here, example. This is a bit of lots of little waves here at the back but actually joins up. That becomes a real big one actually. Look. So now I'm just darkening off and creating this larger wave that's coming up. It has a dark. It looks darker because the shadow, it's actually casting a shadow to the left. Lots of coming to the right, so little bit of that. Let's have a look. Where else can we put in a bit of darkness, maybe up the top here of the wave, 20 bits, darkness up the top like that, just picking off areas, dragging it down to make it look like there are some give, give that wave a bit more. Structure. Little bits of broth or running through the wave as well. Tiny bits that might sort of creep over again that helps imply a bit of direction to the wave. Underneath you can see just little, tiny little bits of darkness and semi areas. But I wanted to do my best to preserve that. The watch on that wave. So being careful here. Notice I'm also going back to my hotel and I do that so I can just dry off that, brush a touch. When I do that, it just allows me to create the softer sort of lines here, lighter lines. As we go out the back, it doesn't look too dark aesthetic. And even at the back here there's actually a bit of darkness. Some of these areas of the waves not necessary, but I thought I will just dock and off a little bit at the back there as well, get a few little bits in pieces. There. We are getting close to the end of this scene. The final bit here is really we're just adding in just basically some final finishing touches. The remaining dark bits and pieces. Basically our final contrasting bits are all really dark areas of some of the rocks, maybe some details for the figures. But apart from that, we are pretty much done. So let's go in with these figures first, I want to just create epidemic of darkness on the legs of these figures. I've used some purple, just teeny bit of purple here, which is fairly dark. Naturally it's quite dark. I might leave this guy's white. This one I can just coloring a little bit with some blue. Let's go with the beauty of this. Let's go with a bit of that blue puck and lavender color, which is more vibrant like that. The one on the right, we'll leave a little bit of pink for their heads. Maybe these like that work there. And the figures out the back, there's not much we need to do with those. Maybe even put in some small indications of rocks or something in the water like that. Good, good, good. Now let's have a look. Let's put in some using some neutral tint, just mixing up a favorite in neutral tint now, with these buildings in the background is a little bits and pieces you can enter. For example, here, you might want to drop in a bit underneath the roof. So that indicates some shadow. And underneath the rooftops. You can do that with even these ones here. A little bit of shadow. You keep it transparent. The B, make sure you're not darkening too much. Top of the lighthouse. There are some dark and beats in here, but I don't think I really want to touch those, make them too dark. Maybe the top of it just slightly dark and the top like that. But I I wanted to sort of blend a bit in with the background. And if I touch it too much, I think I'm going to stop it up. Another thing we can do is just again putting little windows and things. This could have also been something we did with pins. So I'm doing it in a brush with some brushstrokes, but we don't have to. Of course. You've had if you've done it before, if you've done it in panel, you've added the mean and pain, that's fine as well. It's just another tool, really another drawing tool for these smaller shapes. A little, something like that. Sometimes you might get a bit of a window here on the side of the lighthouse as well. Touch and go with these bits. Let's have a look. Maybe we can create more contrast. So I'm picking up some dark paint, neutral tint. Draw that brush off, but still pick up a good amount of it. I can just slowly getting perhaps a few darker contrast and some of these rocks that came while we put them in little, little nice little contrast like that. I'm being careful. I don't want to get rid of all the what has already been put in there. That lovely shadows and warmth of those rocks. It's just some finishing touches that we might, you know, just to darken up some areas and when it dries off, it actually looks better. But at the moment when it's shiny, it tends to look a bit out of place. Good thing is that these areas still slightly damp. So with that actually comes the advantage of the advantage of making it look a bit more natural. Suppose just trying to, in these rocks casting some shadows. They are, they are causing some soft shadows, but I want some sharp ones in there to me, we're almost done almost done with these rocks. I don't want to I don't know how to do it, but sometimes they look a bit too perfect. And so that's why I want to go in there and just mess them up a bit. Even you might think of another few rocks you could add in here or speckles of things that were not included before. So you can of course, go in there and drop in a few other bits and pieces of rock here as well. Here we go. I'm gonna be in here. Let's have a look in background. Perhaps I'll mix up a bit of brown with neutral tint. Let's figure out some of these doc and beats here to here. You've got just where it touches the edge. Yet little bit of darkness. Carry that across, along here. I will scratch in a bit of this brown on using the side of my brush like this. Often it off of it. Lots and it off. You can pick up a bit of a bit of brown paint, wipe the brush on the towel, and then go in with the solder, the brush like this. This will help indicate a little texture. Often the distance like that. Other bits on top and floating around that kind of thing. Sometimes you do get some It's underneath the base of these areas. Don't want it to be too sharp and the whole area there just maybe a bit out here that that's a good that's good, but something like that. Final finishing touches and I keep saying that but some gouache and whitewash and I find this helps to bring, bring it all together and adding a few extra waves and things like that can also add some hair onto the figures of forgotten to actually do that. So I can just let me just pick up a bit of brown or something and just these ones in the front, they do make a difference. A little bit of hair. Back to the gouache. What I'll do now we don't do is actually work on a bit of the waves first. Just pure white gouache and on, picked up from the palette. Let's think of these waves. And one thing you got to remember with gouache is that you want to make it look natural. You don't want to put too much of it and you kind of touching go in areas. For example, we speak here in the background as a wave or something they're touching, go. Spend too much time in one particular area. I'm just basically adding a few strokes during the month. It's actually best to wait for it to almost completely dry. I use it to indicate the direction of some of these waves as well. Just maybe some smaller ones that, let's have a look here. Just to this wave looks like it's going a bit further up. A bit of that way of just continuing along. Perhaps. You won't be some pieces here. Great. Let's put in a little bit of this. I'm gonna take a little bit of this white color. I'm going a bit of the yellow ocher, and I'm going to mix this up with the white gouache to create gonna creamy color. And for this, I'm going to just use it to perhaps bring out some extra highlights on some of the rocks. Tap that onto the right-hand side of the rocks. Look out quick, I'm going just touch and go. Literally touch and go. To emphasize some light sections on the rock. You can spend a bit more time and some of them, but I love this sort of just touch and go. Some of them. Wait in detail a bit in some of the others. That looks better. Just touch and go because you get a bit of this dry brush feeling in there that actually creates texture on the rock. Maybe enough. Maybe you don't want to do for all the meetings, skip over and pick a few here, just scumbling over the top of some like that. Right-hand side of these rocks. Top and right-hand side anyway, He's a bit when I get to the edges of the page, I'm not gonna do much more water in here actually brings a bit of a light back into the scene, creates interest. And you can also do this, not just here but at the back. As you can see, some little, a little rocks in here which are lighter, which I've lost lost out. So I can just take that brush and stumble in some of these areas and bring back some of those rocky areas. These little details in here separate out kind of a bit of this rocky area from the rest of the trees and shrubs and stuff like that. Like this. Easy to overdo it as well. So just be mindful of that. Also on the figures I forgotten, but they do need a bit of highlight or something on the right-hand side of them. And then there. And then on the right-hand side of that alphabet, of that more warmth in some of these, sometimes these actually look much better if you're done wet into wet, these little highlights. I will start putting in some little birds in the sky now. Just with some darker paint. Just put a few little v shapes in areas like near the lighthouse. And you can have them in a block or that we can just have them going by themselves. I like to just keep them varied enough though. You have a few bunched around there and then you can have a few more here. Just helps to connect the sky with the rest of the scene. Also makes it look very much like a beach scene to these birds flying around near the sea as well here the further back the lab is small like that looks good. Also pick up some that might be flying through here. It I don't think I'll do that just yet. I want to actually just darken off some of these, blend this off a little bit with some of these green and perhaps use this green to create extra contrast in the areas of income. Just somehow realized, I want a bit more darkness out the back. They're going to be the purple in there as well. Why not? Purple? Good. Good. Fantastic end. I'll call that one finished. 32. Class Project: Your class project is to sketch and paint a coastal landscape. This can be a same featured in one of the class demonstration videos, or based on one of your own photographs or scenes you've observed outside. You can also refer to the scan drawing and painting templates attached below, which will allow you to trace the drawings if you choose to do so. Men, during each scene, freehand drawings and important step in improving your painting skills. It provides you with an opportunity to compose and plan your painting. Once you've finished your drawing, usually watercolor steps and processes included in the class demonstrations to complete your painting. Finally, upload your project.