Line and Wash Essentials: Planning and Composing Your Painting

1. Introduction: Welcome to the Lawn and Walsh essentials, planning and composing your painting. In this class, we'll be going through the essentials of what underpins a beautiful painting. Without knowing how to design and plan your painting, you're flying blind. Walk you through all the techniques you have at your disposal and went to know which ones to use. Understanding the steps and processes required to paste together a painting is crucial. Believed or not, painting begins even before you put your brush to paper. We do a variety of exercises that will boost your confidence in knowing what colors to use and what time to use specific techniques. Also go through my seven-step process that would show you end up with a painting that you're proud of. I'm excited to get started. So let's get painting. We're gonna be going through a couple of different topics. So we're gonna be talking about color versus value. We're gonna be talking about drawing techniques and we're going to be doing a lot in wash scene. 2. Materials: Colours: Basically, this is my palette here. And I use, I usually use a much smaller palette. I don't know if I've got an example here. Kept it, kept it away. I might have one just goes away. So when you would've seen them before, they're basically smaller, open up little tin pellets and they have perhaps two or three little wells in there. Those pellets are good. But I drew fine. Having a larger one like this has been great for me in terms of just mixing paints. You get a lot more space, less chance of other paints and things running into each other. But if you're painting small, you don't really need something like this, but this is just, this is basically just what I use. But if you don't have, you don't have a palette like this. Or if you've just got the pans and maybe like a really small area, you can use that or another thing I used to use was just a white plate. So I'll just grab something out of the cupboard. It might be an OTA plate or something like that. That works really well too. So what I recommend just having enough room to mix, it's probably best to clean them off if you're a beginner. And the reason why is I can get away with it because I can just know the amount of paint and mixing here. Normally when I start off when I'm painting, I'll use something like a yellow or something really, really like a lot of blue to get those in first. And so normally I'll mix up a little area. And then later on when we get a little dots, all the little bits of mixed up paint there, it doesn't really matter as long as you've got in a darker, cool color. In the beginning, it can get difficult for beginners because when you learning to mix colors, if you've got stuff on the palette satellites, it's a little bit more tricky. But you will notice some of the more experienced painters. The pellets are just completely messy. It's all over the place. I tend to go more by rather than color, I tried to look at the value of whether it's light or dark. I think that's the most important thing in whether it's cool or whether it's warm. But we'll talk about that in a bit more detail. The user few colors in a lot of my paintings. And prior to this workshop, I sent out a list of materials in my palette. And most people are always surprised that I use eight to ten colors. Even in this palette here, I go back to the same ones as there's three purples here. Can you believe with this three purples, that's nuts. Unnecessary, but I really like the color purple. So I got three there. I've got a couple of brown colors here. So this is a brown, burnt, burnt umber, this is burnt sienna over here. This is dark green called undersea green. I've sort of tried to. Again, we're looking at whether we have lighter colors and values. Y's, which i'll, I'll do some exercises with you for a moment so that you can understand what's a color that has a lighter value versus a color that has a darker value. That's how I separate it out here. So it goes from warm and warm colors to slightly cool to just really cool down the end here. So it kind of like warm to cool, light to dark colors. And that really helps me. So that I didn't have to think too much when I'm painting. And that's how I structure my palette. So whether you use these individual colors and not, I mean, you might have a yellow, you might have two yellows like a more vibrant yellow like this one here, Hansa yellow medium, then you might use a yellow like this one here, which is just a yellow ocher. Go over to this side, maybe one of these light blues, That's cerulean blue. And whenever an ultramarine, you might have a brown. I've got a neutral tint here. And neutral tint, that's the color that a lot of people were asking me about because sometimes I do mention that during my sessions I say, Okay, I'm just using a bit a neutral tint or I'm going to, I tried to add up a bit more green there to neutralize that color. Bid. Neutral tint is basically great. It's just, it's just gray. And it comes in a tube that you can buy from the shops, from any paint manufacturer, essentially, since it actually is labeled as neutral tint to convenience color. And I say it's not a 100% necessary when you're starting because you can actually use other paints. You can use blue and a bit of raw umber, burnt umber mixed them together and you can get a really nice, really nice gray for that. Definitely. Like I said, I only use a small amount like the other ones are more just convenience colors that when there's lavender, that one there is turquoise and turquoise. You can already mixture and be a bit of ultramarine blue and maybe a bit of yellow just mixing name and a bit of yellow ocher that produces something similar. Even a little bit of gouache in this. Lot of them are not 100% necessary guys. I think fewer colors you use when you start the better. I don't use that. You put a huge amount of importance on color, but there are times where the context of the place might demand more color accuracy. So when you are painting that certain building, maybe the Taj Mahal where it has more of a creamy white color. And if you go in there with maybe, I don't know, some blue and light blue or maybe even a sandstone yellow, it can look a bit odd. So those are the times where I think color matters most. Also when you're thinking about implying the time of the day. So if you're looking at perhaps morning, afternoon, or evening, certainly as in the morning, you're gonna get more of that orangey, warm as sort of color in the horizon line. And of course on top you can have a bit of maybe a little bit of dark blue, what have you? So I think colors important for context in many ways, but mainly for those two ways to indicate the location. A specific landmark where it has featured color, something that's recognizable in color. And the other reason is to imply the mood of the scene. So basically the time of the day, I think that's probably the most important. So if you can see, for example, we did this quick little beach scene last time. Really bright colors here. Not much water at all. You can tell. It's definitely a daytime here. I'll go to another what else do I have in here? I think here's another one that I did recently. Just a quick little sketch. Again. The brightness here of the ward objects just left that white and you can see it's daytime. It's clearly daytime. So that's I think really one of the most important things to keep in mind. 3. Colour Theory Essentials: So let's go ahead and I'm going to want to do some exercises with you. And we'll talk a little bit about the color wheel as well so I can bring that up. I might actually bring up a quick photo of the color wheel. I don't want to spend too much time going over these guys because I know that you guys have all probably discuss color wheel charts and seeing it hundreds and hundreds of times. But this is, this is one that I picked out, just downloaded off the net. And you can see they're basically three primary colors. You've got a yellow, you've got your red and blue. And I always I always say if you've got those three colors, if you've got a yellow, red, and blue, especially if you go to a few different combinations of those yellows, yellows and reds and blues. We've got to have two of each. You can mix almost any color. Sometimes I add a tone in earth tones are some brown or basically a burnt umber or raw amber. That really helps as well. When you're doing some landscape scenes that require that. Otherwise it's not, not really poorly because you mix anything else with it essentially. Use also a palette sometimes with just my secondary, so a bit of orange, violet, and green. But mostly, mostly, I tried to use a combination of warm and cool colors. So on the right-hand side of this color wheel, you can see all the colors from yellow up until basically red, violet, red violet. Anything with that sort of yellow, reddish, orange hue in the coloring there were referring to that basically as a warm color. And as we move towards the blue area, the blue green, maybe the blue violet area. We're going to refer to that as basically a cool color. And I like to have a combination of cool colors and warm colors in my scene. And getting them to contrast against each other as well as so is so important because if you have that, that contrast, you can have a bit of vibrancy. You're going to use that to your advantage. But you have to be careful as well. For example, I'm not going to go ahead and use yellow and violet in my whole painting. I might just use a bit of yellow, yellow, orange, and violet. So it doesn't have to be directly opposite the color wheel. When you're looking at, when you're looking at complementaries, red and green, for example, you can use a red and perhaps a little blue-green or bit of yellow green in there. If you use colors that are just directly opposite, they can look good as well. But sometimes can look into it a bit gaudy. Just got to go to keep keep an eye on that. 4. Colour Vs. Value: All right, so a bit of yellow and I'm picking it up, almost, just got a little bit of water and then activate it. But I'm really, really going quite heavy and, and I'm gonna drop that straight in. Obviously with this yellow, you're not going to get, even if you use it straight from the tube, it's only going to be your only going to get it as dark as it looks. Okay, you're not going to get any darker than that. Even views it straight. Since you straight from the tube. I can add a bit of water to that yellow. Then just bring it across like this. I can just actually bring that down, maybe like that. Bring it down. It dilutes down. This often sunny yellow color up up here. But if I go back in there and drop in that yellow, It's very little difference between between the top and the bottom area. You can see maybe it's a little bit dark there, but down there it's very, very light. So when we're talking about colors, firstly, we want to look at whether it's warm weather, it's cool. We also want to look at its tonal range values, basically, how dark and how light can that color basically be presented? We look at perhaps his color. You can decide yourself, put it in the chat as well. Do you think, I mean yellow? Is it a warm color? And in terms of its range of values that you can get from yellow, do you think you can get a lot of values? We only get a few, a few values basically. Putting the chats and what I'll do as well, Let's try bit of red, so I'm going to pick up a bit of red now. Red is a slightly a bit darker, darker than the yellow, but you can use it as a straight from the palette. This is a bit of scarlet red or purely in red. Basically. That's straight from the palette. You can see it just dark as you can get it rarely. Then I might drop a bit of water underneath here and just soften it down until we get almost a pure water down the base here. But you can already see that there is a larger range, values, range of values that you can get from this red. So you can go from almost a pink, pink color here to a very dark red there. Whereas with the yellow, He's certainly not going to get as many values. Let's put a bit of blue in here. I've got a bit of ultramarine blue. Just picking up as much as I can off the palette really, really sort of ultramarine. Drop that in here on the left-hand side. That's really dark. It's really dark. Straight from the palette. Really only a little bit of paint on there. And I'm going to dilute that down. Let's put a bit of water here. Dilute it down even more. Let's bring it further down that more water. And that's what you do when you're working with watercolors. When you want to lighten a color, you just need to add more water. People who have experienced in acrylics and oils, you know that you basically white, black shades of gray into your initial color. But in watercolors, you just add water. You play around with how much water in there and you can figure out the combination that you need. It's trial and error. Especially with water. There's so many different levels of values that you can get in watercolors. You can get a huge range of values. I think watercolors, compared to other mediums, even the slightest amount of water can change that value quite considerably. So you can see here out of these three, which color do you think has the most range of values? We just say it's blue. Would you say it's red? Or would you say it's the yellow? The answer, the answer is basically blue. If you look at the blue, you can go from a really, really dark color, this ultramarine blue all the way down to almost a sky mix here. Really important to understand because for example, if you're doing shadows, I can't be doing shadows of a building or you're doing shadows with a figure or a person, something like that. You're going to have to make sure that the shadow is fairly dark. Definitely blue. If you Thank you, Peggy. Basically if you try to make a shadow from mood of red and a bit of yellow mixed together or maybe just use it like a red shadow one. It's not going to look It's not going to look like. Realistic to life and me, if we look at most shadows, they combined a lot of colors. They're gonna be blue, basically a really dark tone. The color will be look a little bit odd for the shadow. And you're also not going to be able to get a very dark shadow. When doing a shadow. What I like to do is just mix up basically a bit of blue or red and a bit of yellow if you don't have neutral tint, otherwise I just used a bit of neutral tint. You can use a bit of ultramarine blue mixed with some, let's say for example, a bit of mix, a bit of ultramarine here with a bit of raw umber or burnt umber. We're going to Tanga and you can get these kind of darker mix like this. That's a great grayish color. You can just mix you three primaries together. So again, I'll grab, say, a bit of this blue, we'll get a grand bit of that red. Grab a bit of the yellow. There we go. Again, we have a kind of a grayish color here. This one looks a bit more cool compared to that one because I might have put a bit more, little bit more blue in there. Daka, daka Pell has the greater, the greater range. It's difficult at times to sort of get your head around that. And also, you got to realize that each color has its own limited range essentially. I mean, I've got this purple here which is like, I don't know, what is it? It's this one, sorry. Absorbs violet and it's almost black. Huge amount of tonal range. When I do little sketches, sometimes tonal sketches, which is the value sketch. Same thing. Probably more accurate to just use, use value. You would value. But basically what I just do a value sketch, which is one color, I focused on the lights and darks of a scene. I'll use a color like this that has really, really the ability to go from this black color. And when you pick a stretch for the palette to a very light color, think we, we've covered a little bit. It's done some quick exercises on choosing colors, understanding the relationship between color and value. One thing I always, I keep telling everyone this but making sure that you're focusing on value a lot more than you're focusing on color. Because value is essentially what gives your painting a sense of dimensionality. It identifies shapes, putting in shadows, what have you, It's what pulls everything together and makes it look like a painting. If you've seen some of the black and white paintings where people just use black and just diluted down to different levels. Some of them look incredible if you look at pencil sketches. Pencil sketching is also a fantastic way to understand tone, chance to evaluate turn. So basically, you know, because it's one, you've got a bit of lead and you can go from like really, really dark all the way to light like this. If you imagine, you only had one color, you can get so much done with just one color. Color is just an additional tool, additional thing that you add to your toolkit to make your painting more interesting. To imply a place at imply a specific time of the day. To just give it a bit more character. But always remember that value is should be in the forefront. 5. Graded Washes: Basically with the gradient sky wash, wet the paper, and then dropping, dropping the paint. Or you can just basically pick up that paint itself, the darker color and go straight into the top. This is all just dry. Then as you go down, just mix a bit of water into that blue. Bit more water into that blue. And carry that down. A bit difficult on this paper. But just carry that down at a little bit more water. As you move further down the page, you'll see you basically see it getting lighter and lighter. You can also go in and pick up bits of paint if you feel like it's just looks a bit choppy in some areas. That's one way where you go on, it's like dry paper. And then the other way, like you suggested is just wet the paper like this. I actually do this a lot with some of the landscapes and I'll show you, I'll go through an exercise with that later. But we can pick up a bit of blue and drop that in there. Dot blew up the top. You can see it's already kind of spreading through the paper. But then you can just pick up a bit of that lots of blue, a bit more water into that into that balloon mixture. And just feather it in further down like this. Just a little bit different, tricky on this paper, but usually on cotton paper you're gonna get a lot better results. So I tend to, I tend to do this one if I basically want a more even gradients. So if I really wanted to go from dark to light, this one here where I wet the entire sheet of paper. I find that this is great when I'm doing loose landscapes. And I want to have a bit of very, I want to have it go from dark to light, but I also want to drop in maybe a bit of orange in here or something, you know, and make sure that it just sort of blends together nicely because I find times when you blend, you're going to blend a bit of orange or something in through here with this graded wash. You can get sharper edge where it blends. You just got to pay more attention to where you blend it. Whereas here because the paper is still wet, it tends to just don't merge together better, but you do get more control with that. 6. Line & Wash: Simple Landscape: Let's go and I want to try something. Would you a bit of wet in wet first? Okay. This is kind of an advanced color mixing. And something that people asked me a lot. I constantly get asked is how do I create all these softness in my paintings? This is the reference photo here on the right Guys. Let's have a go with this one. And to get you guys to get you used to using pens as well, I'm just going to sketch in pen. A pen and wash is something interesting because you're combining the, basically you combining a sharper lines with the softness of watercolors. Because we're gonna be using pens later. You can use a pen now I can draw some of these little scenes and if you'd like, or you can use pencil if that's more comfortable for you. Yet, the bourgeoisie, and this will literally take probably a minute, really quick sketch. So I'm going to just go square. The aim of this exercise is I want you guys to focus on the cool and warm characteristics of color in the scene. And I want you to also focus on the values, the different range of values in here. Now if we look at the photo and we squint a little bit, you'll notice there's basically just two colors. So you're gonna get just the top sky bit here, which is basically warm, warmer color with a bit of coolness mixed into it. And the water here, which is also a little bit warm with the sun reflecting in there. And then on the inside here with the trees and we're having more of a cooler color. Let's draw this and I'm going to put the horizon line right down the center like this. And it's certainly that's just the area, the line at the back where everything disappears off into the distance and you can't see anything. Let's put in a few trees. Okay, I'm just going to drawing, scribbling some trees. You can see him. Stone. Just have a bit of fun, and if you want to change it up, that's fine. This is just a way for me to get a bit more context about what's going on. Know your sky around. What are the kind of thing. Here's a bit of this heel, little heel coming in from the side. And it's a bit of softness here on the edge as well. Here in the ward. I'll just mark out a bit too. We've got kind of like a shrub here or something. That's another shrub, smallest shrub here. You can see little bits of shrubs and I don't know, it looks like this things growing cross the water. If it's a grass coming up here, another bit of grass here. Let's not overdo it. Let's just get in a few bits and pieces. Remember, we're just focusing mostly on the color and the values. So the quick little sketch like base, it's, again, it's not gonna be, gonna be framed and putting in an art gallery. But let's pick up some brushes. I'm going to grab a number eight, number eight round brush. And before we even start putting color in, we could ask ourselves look at that reference picture. If we're trying to get the similar color scheme to this, I guess in terms of like the warmth of the sky and the water. And then compare it. Sort of contrast it with the coolness. Okay, what are we gonna do? Well, I would say getting the warm colors first because they tend to, tend to just sort of putting the blues first. I always find that it's a bit of blue leftover on the brush. And if you put a bit of yellow on later, it just mixed into a kind of a yellow green. So I always try to get in the warm colors first, That's just my suggestion. And do the sky in two ways. I think we'll do it in the way that it was talking about before, which is basically wet the entire sheet of paper. So I'm gonna go grab a larger brush for this. I'm just gonna go over this section is actually a little bit of blue in this war. It doesn't matter just what that bit of paper. And give it a little bit of time to kind of soak in. Don't drench it completely, but make sure that it's completely saturated with water. What you don't want when you're doing this is to have a huge puddle of water in here and here, you look at it from an angle and you'll be able to see that the water, and, um, since Okay, There's no big puddles. If you see a puddle, just shift that puddle around, moving around or lived off a bit of that water. And that will solve that issue for you. I kind of get it to the point where it's fairly saturated. But I don't have any weird puddles or anything like that because when you have these puddles, you're just gonna get an uncontrolled mixes going all over the place. Let's go in with a bit of warmth. So this guy is kind of a yellowy orange color, so it might pick up in a yellow that's mixed up beautiful Ponzi yellow because it is quite a vibrant yellow and I'm mixing it a tiny bit of orange here. It would have been of orange. I might just drop it in like that. Let's just go in like that. And you can see that the orange and yellow just sort of already just mixed into the sky like that. See how efficient you can do this with a few brushstrokes, something like this in different areas. The nickname, while we're there, while we've got this color, Let's put some in the water. But here, we've got a bit here. Let's just drop something like this. Do that reflection. Watercolors will paint itself a lot of the time if you just let it mix and do its thing. As I as I am here. When you're using wet-in-wet, especially it's like a magic thing that just happens and sometimes just end up with something quite beautiful when you and something that you can't really even re-create if you tried to do it manually. Sometimes when you have this uncontrolled sense in there, it actually comes up with something better. We evolve into something better. I'm going to go and mix up a bit of a cooler color now. So I've got some ultramarine blue here, a little bit of ultramarine, tiny bit of that. And I'm going to drop in to make things simple. Probably the we'll go with just add your primary skeletal eyes so a bit of blue, red, and yellow and mix them up so that you get a grayish color, grayish color. And then after that, just mixing some more blue. So we can get in a kind of a bluish grayish blue gray color like this. And then we're going to drop that into the sky. Notice notice already how dark it is compared to the yellows and what have you is pretty pretty dark. We're using probably do about 30% paint. But I've used actually a lot to mix for the yellow. But because that yellow has such a limited range, limited value range, don't, even if you're using it straight off the palette, like going indicating before, you don't really get too much of it showing through. So let me go a little bit of that. We can drop in a bit of blue in some areas as well. For some of the clouds, you can see some of them actually a little bit darker, so we can drop in a little bit more blue in there. To further concentrate that paint. We can drop in a bit here. This is what we're doing here, is we are mixing paints on our paper, rather than mixing them all in the palette, we're allowing them to mix on the paper. Form, basically just form shapes and transitions. And of course we have less control at times. But we also can produce some very interesting combinations, color combinations, the sky. Remember, we're still keeping the sky relatively light compared to all these mountains and things like that in the back. Something like that. Got to get it light and that's preserved in there. We've got some clouds and things like that over the side. And what we can do now is we can just go in and put in the mountains. We can put in the ear of the ground. If we look at these, we look at these mountains and the hills compared to the sky. Would you say that the mountains and I guess this area of shrubs and things growing on the water. It's a grass. Would you say that that's DACA and you say that's darker or lie to them the sky. Let me know. Just have a think about it. I'll give you the answer in a moment, but really try to focus when you're looking at that reference picture and ask yourself, is it this lighter than everything else was a dark and everything else. Look at everything in the context of other elements. Basically. Yes, it's DACA. We want to make sure that we are going in. We want to go darker. I'm going to go pick up a little bit of neutral tint here. It's just a shortcut, but again, you can just mix in all your blues and Blue's Clues and blue, red and yellow to create this. And I'm dropping that in, stopping this in here, look at that. You're going to get some soft edges, these little mountains. But we're using a fairly thick mix of this paint. Not there's still water in there. Is it thicker mix? And what this is going to do is that It's going to create some softer dark shapes here in the distance. And darker shapes, something like this drop that in there. Let's go here and on this one. And then there's this mountain lions here on that left-hand side. The hills, the trees that, oh, standing out against the sky when we are doing this. Let's go in here until the foreground a bit. So this stuff has started to dry off, but we can pick up a bit more a bit more color. It's still wet enough for me to just feather in a few bits of this bits and pieces using a little, just a little brush like this, you can indicate some shrubs. Remember to cut around and preserve the lights, that yellowish light that's coming through. What we're doing is that we're basically, again, you're practicing, you're mixing on the paper. You're keeping in mind the tones that you're using, the values you're using, whether they're light or dark. Keeping in mind also the the colors that we're using to make sure that we've got a combination of warm and cool colors in this mix. More coolness in here for some of these little shots. Like I said, it's just a quick little exercise. Doesn't have to take all day. But you've already got a little indication of what's going on. I mean, I tend to spend a bit of time in here and later. If I've got more time, actually go in and just detail additional bits and pieces. But for example, I might go in and think, okay, I just want to darken this bit of heal a bit dark in this shrub here, a bit dark and that one. Have a look really closely at some of the variations in here and see if you can change things up. Pretty, pretty basic scene. But you like I was saying for you've got this warmth in the sky reflected into the water here. You can actually pick up some yellow. Let me have a look. Not some yellow button. You get a bit of a warmer color and try to get in some ripples, some sharp little ripples in the water. Let me just pick up a bit of a flat brush here, a bit of orange. We can do something like this, just put in little reports and things in the water. Another option. Water has an areas like that as well. But this is the kind of mental process that I go through when I'm looking at a reference, reference photo. The sky, of course, the clouds in the sky. If we compare the clouds, if we squint, just look at the clouds. The clouds, even though the darker than the yellow that actually not darker than these trees rotten back here the trees rot in the back, touch darker than the clouds and the sky. When we do that, we make these trees in the background darker. It's going to make everything in the sky be pushed back into the distance. A little technique that's one to do and to try out with a few different reference references. And what we going to do now, I want to actually go through and do another exercise where we go through just a tonal sketch. So we're going to get a pen out, sketch another. This one will be more of a stress-related seen. What we'll do is that we will actually try to simplify it down. And one color only paint it in just one color. Does anyone have any questions? I can see that there's quite a few people watching still. So if you have any questions, just write them in the chat because I don't want to continue on lists. Sure, you guys already, but otherwise I'll assume that you're done with this exercise. And just keep in mind the steps that I'm taking, the mental steps that I'm taking even before I put the brush to paper or even yeah, basically start mixing colors. I'm already thinking about the scheme and how I'm going to put it together. Aci, pause the audio and I'll dry this off so I can turn the page over. When you get good at this. This sort of technique is wet and wet technique. You can whip out the sketches in literally five to ten minutes and they're great for practice. The great for you might be like a friends, but then you thought you can get them a president. Just make a little card for them and do a little sketch like that, adds a nice personal touch. It doesn't take you all day. The advantages using the inherent advantages of watercolors in this wet and wet. Wetting the paper and letting, letting the watercolors paint itself, you just basically facilitate what's going on. You add the colors, add the values. You mix around, maybe have few sharp strokes here, but a lot of it is just indicated. 7. Line & Wash: Murano: This one here is seen a boronic, a lot of detail in the scene. But what I really want you guys to focus on is again, we're going to look at the colors that are present in the scene. We're going to look at, we're going to look at the values. We'll do a little quick little review of this photo. Let me zoom into it on the screen so you can have a look at it. You've got all this warmth on the left-hand side on the ground. You can see the light. Just from coming in from the right-hand side. You see the shadows cast by the buildings on the right here on the ground. The buildings on the right-hand side, then not as vibrant and pretty dark compared to the ones on the left, even in the middle of the scene. He is some of the large tower in the background. That's pretty that's pretty lot is welcomed pizza, the what's on the right-hand side. So keep that in mind. The set V, the saturation and the warmth of all those colors. I mean, there's actually some blues, some little pink in there as well in the buildings to the left. But mostly it's just quite warm and some darkness underneath well into the shades and the umbrellas and stuff like that. But we're going to attempt this one. Again, just a really quick sketch of this so that we have some practice identifying colors and identifying identifying values. So grab a pen again, just any old pen, I'm going to actually use the same 0.5 pin that I had before. And again, you can use you can use a pencil if you'd like to. If that helps. I'm going to go in and I've got the reference picture in front of me. And don't worry too much about form in terms of the actual structures of the buildings and stuff like that. We'll go through how to actually draw a bit more later. But the focus of this is we want to look at color and we'll want to look at time. I'm going to go in, Let's get to the Sioux square. Going on the outside like this. Little squiggly on the outside. That across here. Great. I'm going to draw a line for the horizon line just below the middle section of the scene. Something like middle section because the basically the bottom of the buildings, It's yeah, it's roughly just below the middle, something like that. And I'm going to go in and I'm just going to sketch in a little silhouette of these buildings. Okay. I'm not even really trying to get in any accuracy or anything, but just a little sketch of the edges of these buildings like that. You can see them come out when you drawing buildings. Look at them as shapes. This is just a big bulks on its side. Today box on this side. Something like that. More you do it, the easier it becomes. A little shade, just something quick. In there. You might have some umbrellas here. It doesn't matter. Remember just a little bit of form in there. But we want to focus more on the colors. You might have bits and pieces, as you can see, all kinds of shapes and things. He was umbrella here. What have you, this building comes down. We've got smaller Building here in the background as well. So just a little one. Just another square. Let's get in the tower and some of the buildings below these ones start roughly in the center of the page. If we look at the tower, it's roughly in the center of the page, the scene. So again, let's join a few little box-like shapes like that. Like that. I'm going to go to another building there that's kind of in front like that. Couple here. Pretty quick sort of deal. That of course, these buildings to the right-hand side, we're going to just make them make them go get taller like this. Don't worry too much about the form guys. Dock. These umbrellas are going to be dark. Got a bit of form here for these buildings. Even if you can just get the silhouette of the buildings without any of the lines down them. Just looking at Wally cotton from the sky and just getting a line like that. We're all good. You find. Um, I also thought doing things. Sometimes you can add in like windows and stuff like just with Mark, just with any kind of pin, really a bunch of these dropping a few little bits and pieces for the Windows. Once you have a bunch of windows in here, you'd be amazed at how it starts to take form. Whereas before, it can be difficult to see what's, what it is in there. But the window is really scream out building that. Again with these little umbrellas and things, all kinds of stuff in here. Look if you've got some people and I have a person walking in From this end. Just have a play around. Let's put in some, some, some more windows you, and remember, we're gonna be using one color to color this in later on. Just one color, essentially, there's some kind of gonna pull here. Can you see it? There's a little poll here. Palms, you might want to change it. I might make it go higher like this. And then I'll put in maybe some kind of a lamp type sign like this. Some indication of a lamp. They look can be a lamp. Quick little scribbling there for that lamp. That would be good because we can get a shadowing. Got four people, four figures walking down. This is also a good opportunity to practice your figure sketching. We've got a guy here kind of just walking like that. So the vacuum, It's kind of like a rectangular shape, the head smaller little rectangle or oval shaped like that. Here. Worry too much about it. Just, again, just a little sketch. I want to focus light are just showing you how to use one color to get in all the shadows. You can even just use that color to get in the shadows and leave the rest of it white. But we won't use a few different values so that we can practice mixing. And if you can mix one color and paint in one color fairly accurately, then adding more colors in becomes easier. One of the things I find beginners struggle with ease. All these choices, all these colors. And then you're trying to basically combine all those colors and mix something up. But you're not really even just using one color is hot enough at the start. So let me go look some more figures. Is another lady here walking along coding goes hand seems. So you can see this is not accurate, but walking just kind of family just walking into the same seems. Okay. All right. Pretty basic. You can even add in the background. You can add a few more, just scribbling a few figures, overlap the distance. Sometimes you get someone to hear that the head is just like a rectangular shape and bodies are rectangular shape and a couple of longer triangles for the legs. Like that. There's a thing you can do as well. You just don't lift the pen off the paper and just draw them in. Again. If you're using pencil, same deal. We can do the exact same thing. Alright? Really basic drawing here. Really, really basic drawings. How are you guys going? Let me know. Let me know in the chat how you're doing. If you need any additional help or have some questions, I'll go through and answer those questions for you as well. So long as you go to a little indication of some of these little sense in these buildings, these buildings in Marano, Borodino era, they have this quite unique look about them. But I think the main thing is the colors, the vibrant colors that you get on them. And these windows with the suddenly they have this white frame surrounding some of them like that. You can see with sonar wide frame or what have you, but even that's not a 100% necessary. You can get away with just putting a few simple lines running through underneath umbrella that wasn't really there, but I'll put it in any way. You know what, I forgotten the tower. Let's get that in. The longer rectangular shaped like that. Look inside the tower and look at what shapes are in there. There's a little triangular shape there, and then on top of that there's a square like this, okay, Then on top of that you've got a large triangle like that. And simplify that down a little bit of 3D left-hand side to make that a couple of little lines going on down there. But apart from that, does the trick. Great. So I heard that you have a little sketch in Qia. Quick little sketch. At this point. Shove a little bit of silhouette of the buildings, maybe a couple of windows, some figures walking and you didn't have to use these figures, but I've just use these things because now I want you to pick up a color that has a naturally dark value. For this one, I'm going to go pick up a bit of purple, I think when we use a bit of my purple. But you can also use neutral tint. So you can go to blue, you can use a really dark blue or you can use a dark brown as well. And that works quite well. But for this one I think I'm just going to be using a just gonna be using a bit of this purple mix. All right. Let me go to that purply mix. Then. We want to have a look at what's in this scene. Looking at the lighter sections, we've got all this light on the ground, the buildings, and what have you. But how are we going to do this all in one color? Well, firstly, we want to dilute down that color. Really, really, really, really. To the point where you've got 90% of water, maybe 10% paint. I'm going to go into firstly the sky like this. Pretty dark at the moment compared to the older the watts on the paper anyway. So I'm gonna go around. The sky actually has a darker tone than some of these darker value in some of these buildings on the left. I'm just getting a light wash for the sky. In this purple. Using one color you, it doesn't have to be publicly against. You use whatever you want for that. But you'd want to make sure that whatever that color is, it has a good range. Be able to get in all the light and the dark areas. Maybe that sky. I'm just going to leave it. There we go. Good. That's going. Next step. We're going to look at what's, what other areas of light and we have in the painting. So we've got perhaps the size of these buildings and the ground which are pretty, pretty. The light, I'm gonna even lies in that purple even more. So that it's almost just water. Drop that in sort of that voting. But a bit here on the rooftop of that building. These two here as well. The edges, Good, good goods across the ground. We're going to join this up. Let's put in this little light wash of purple into the ground. Notice that this washer purple is also lighter than the sky wash. Wider than the sky wash because it is actually larger than the sky. You get these little bits. Can I just leave that off if it starts to pool in areas and we can lift off a bit of color with the brush, dry the brush, and then just mop up that bit of area. This point I'm using almost completely just a 100% water. Again, these buildings here in the background, it pretty light. You can even just leave them white. So I'll just add in a little bit of color like that on them. Okay. The figures, we can drop in a little bit of that purple onto the figures like that as well. Just to get into a lot of wash, you will find most of them have a lot of lighter highlights in them. And then the clothes that they wear actually where the docs docs or the hair and stuff like that as well. Okay. Good. Okay. So let's give this a dry if you've got a hairdryer with you, give you a quick dry and I'll pause the audio so you don't have to hear this. Okay. All done. Now. We will want to put in the darker tones and values now. So just picking up some of that purple that I hadn't mixed up earlier. And we're going to use a higher concentration of the paint mix. I would say about 40 to 50% paint. We're going to go through and you will know that the buildings here on the right are actually a lot darker because they are in shadow. So I'm just going over the top of these buildings and getting in a bit of a shadowy area. I'm just using a mop brush. Nothing special, just a little mult brush. I'm bring that down and you can actually leave out some of the umbrellas to make them. Lotsa can see just a little bit of that. Sometimes they, they kinda catch some light and having a break from all the darkness as well. It helps. There we go, we go, we'll just bring that down. Interestingly, the ground connects on as well, the shadow on the ground. So you can kind of go through and just do this kind of thing and putting data link on the ground. There's a shadow that just kinda goes straight in to the scene like that. Some edges look a bit more. Papa. But apart from that, kind of like this, isn't it. That joins on with the building. Cutting around the figures again a little. Remember I'm just using one color, name, color. All the way through. Just adding in varying levels of water. You might think to yourself, I want the shadow to be a little bit more. Going in a bit more, you can change it up. Does anybody want to do too much else with it? That looks pretty. Pretty okay. Not just that. We do have the people got this person here and then maybe like a bit of a darkness on the left side. Because we've got the light coming in from the right. So we've got perhaps some little dark indications. The left side of the clothing, then the legs. Here's whoa, you see sometimes we'd had darkness, left side. And let's have a look. This little girl, she's got like a bit of darkness on the other side of a dress, on the left side of a hit. And the legs as well. Look at this guy. Darkness on the head. Shorts are pretty dark so I can just getting more purple in there like that. Just the edges of the legs. Quick little bit of darkness there. Same thing for the boy. Here we go. Just some color on the left side. Let me so we're looking at the ceiling and it looks like there's some light coming off the right-hand side of that. These figures, right? Same with these ones a bit. And of course let us get in some shadow for the legs so we can actually mix up, this is the same mix, perhaps a little darker, roughly the same mix. And we can connect up the links. I'm getting a little shadow here on the ground for these, for these figures. One for the Go, one for these bigger here and this lady. Legs. Good. Simple shadow there on the ground like that. And of course we've got the what you call it, lamp, some darkness on it on the left-hand side of the lab. But you can see already that something is starting to come out of this. All these buildings here in the back darkness, the left-hand side. But we're leaving the roof. So we can cut around the rooftops, just leave that so that it's still catching some lat top lift. And of course, that's going to be probably gonna be some lots here as well. Cutting across the building may leave the rooftops like that. This tower near this cocktail, we might put in darkness down the left-hand side like that. Just like that to show that the light is coming from the rats again, at least trying to keep in mind where the light is coming from. Little bit of darkness here underneath that building. Look at the sides of these buildings as well. You're going to have areas where you can have a bit of shadow at cost. There. The light coming in and maybe I just catching on the edge of that building and forming a shadow here as well. We've got a bit of darkness here. In this building. When do you practice these tonal value sketches, total assess value sketches, and just focus on the basically the main elements of light and dark. You'll be amazed at how much you can do with just one color. To finish this off, we will add in the final darkest values. Right here. We've got basically all our mid meet values and which is basically the shadowy dark areas. And we've got our lightest values of the sky and the ground. For example, underneath the buildings, you'll notice there are some really dark areas. I'm going to pick up some more of this purple. I'm going to use, I don't know, maybe like 60, 70% because I don't have to go too dark, too much with this document itself. That up. And let's have a look in the scene. Where would you say the darkest areas? Let me know in the chats where the darkest areas of this entire scene. We'll have to think about it. We don't have a look at everything. Essentially. If you look underneath the buildings, you do have some here, for example, underneath this sharp thoughts of this person gets in pieces there. I'm just going to imply some little bits of darkness inside. So we can go, for example, over here underneath the umbrella, I can pick up more of this purple, really dark purple. And I tend to use a smaller round brush for this. I didn't go overboard. Cut around that darkness in there. Perhaps in here. Just to indicate on the sides of some of these buildings. Here's well underneath this is like a little umbrella. I don't really like a little shade. Again, you've got darkness in here and this is a clothing rack or something. And some shadows here on the ground. We know is what it is, what it is, but just looking at the light and how dark it is in that area, trying to make sure that I indicate that a little bit of that. Let's have a look on that right-hand side. You might have bits of darkness in here. Beneath these buildings. Tables and chairs and stuff like that. And often hear as well. Some of the doorways in the background like this. Something like that. Doorways. Especially if sometimes there's little bits of shadow for these figures here in the dock. Be good as well. Some little perspective lines and little lines running towards the center of the scene, which I've now realized I forgotten to put in these shadows of the figures right here. So a little bit of darkness running towards the left for these ones. That darkness, darkness underneath running to the left. Not really TO something like that. It's all consistent. But that's basically it. I've already gone into those windows with a bit of before, but you can go into them again. You can do something like this. Really just dark in the mouth, finish off these windows but draw them out a bit more. You learn a lot from these, from these sketches. Even in the background, you can see this such a stark contrast at times. Dot contrast. Getting this shade in areas underneath this building is probably a little darker. Just talking underneath here. Good. The things you can do is a bit, sometimes you can pick up a bit of paint and just do some shadow underneath some of these areas like this. Shutter here and here. Not necessary, but just another finishing off, finishing off technique that you can do. You just kind of just pick out little tones that remain cost. Little shadows that are caused by the window is the window frames and stuff like that. But really, this is a good little exercise. And as you can see, even with one color and a simplified sketch like this, you can tell, you can tell what's going on. Let me zoom in a little bit more so you can see what I've done. Might be better for you. Okay? 33 basic tones at three basic values in here. This child who has a bit more of darkness they looked at, there is actually a bit more here. Every time you go back into it, you realize I could, I could dock and that bit a little bit more. And you just realize there are some things that you can better to separate. But the issue is, of course, knowing how much you interpret. Because if you, again, if you do too much, identifying, lose that in magic and you lose that looseness of what's happening. That's something that comes with a bit more practice. Obviously with as you can, paint the shapes, figures with fewer brushstrokes, it becomes a lot easier to basically identify something, but still leave enough for the imagination. I think that's one of the beauties of watercolor, is that it just has this spontaneous spontaneity in watercolors that I find you don't really get with other mediums. Always really sitting down and taking a long time. With this, you can really, really get something out there that looks quite fresh and beautiful. Gold amount of time. That's all. I've drawn this all off. And I'll just show you some quick little things that you can do to finish it off. Again when you're using pen, can pick up you can just pick up a pen and just go go into it again afterwards. Once it's dried. Work on it again. But the main thing is keep in mind the value that you're using in different dilutions of your paint. If you have if you have just one color. Because often people start with too many, too many colors, That's why I always suggest three colors. If you've got three colors, your primaries, maybe a brown when you're starting out. If you can master using those. If we pick up any others. That will really go a long way because that forces you then to work with less variables. And you might have to mix it up and makes you read in your blue. But if you can manage using different colors and focus on the values at the same time, That's great. I found that I really struggled with that in the beginning. So definitely try this new exercise is great and it's great fun than there's no pressure. And you just sort of getting a quick impression and understand where the light comes from. 8. Line & Wash: Venice: I'm going to bring up this next reference photo. And this here is a really, I guess an iconic scene of Venice. It's like we've got there the Santa Maria Gillis fluid in the background. We've got we've got this gondola in the foreground. Here. Let me just zoom back out a little bit like this. That's better. Again, the photograph is available under the description. You can download it. Little analysis of this reference. Let's have a look again, following the same steps like we've used before. Let's identify what are the areas, what are the dark areas? What are the lightest areas and what are the dark series? Basically, the lighter areas in this scene. I'd say the sky scars from the lightest and you've got a bit of the water. The water is probably a little darker than the sky. But mainly I'd say the sky water that a lot of sections, you've got little ripples and things like that in the water. In the background you have basically just mid-tones of the silhouette, the silhouette of the buildings, and then there's a larger building in the foreground. So let's grab that pin out. Let's do a quick little gesture drawing of this. I'm going to go and get the borders like this. Getting the board is, by the way, this is just a stylistic thing that I do because it creates a kind of framing effect. And I don't know, I just like it also prevents me from getting paints on the other side of the page because of my paint to the edges of the page at tend to It's not going over mixing. You'll notice also that in the midground you've got some smaller barges. On the top left here, There's a botch then it's like a fairy or something like that. Those also pretty dark. Mainly that one there. But apart from that, the rest of them are just midtones and light areas. So line down roughly just below the middle section of the Saints, below the middle area, like this. Quick little line like that. We're going to look what's far the easiest thing to get in on it. I would say this building here on that right-hand side, I'm just going to reduce it down into square. I guess square there with something coming off the roof like this. And then there's kind of like a bit of the rectangular thing area here. It's just a silhouette. Just a little silhouette is a window that we just imply like this, you edge of that window. Like that little bit of detail there. Look at it in terms of shapes. This is just, it's kind of a square inside a skirmish. I didn't know this square and this is what you call it, just the bottom part of it. Literally technique as well. When you want to add a value pin, you can hatch lines in one direction and you can already see by that, the darkness of this area just below is a lot more than what's on top. Okay. But I don't want to do it all over. I just want to get into a bit of it. We can get the resting with the watercolors afterwards. You can also see some of these reports underneath. Again, I'm not gonna touch that. Let's go ahead. I'm going to just try to put in this gondola here. It gives me just getting this little shape of it. Remember, look at the, look at the basic shape of it's kind of like totally kind of banana. It doesn't stop as well. Stops roughly here. Just shy from the middle point of the scene. That touches the water roughly here. This side here it kind of comes down to the water. Again, just meets with water like that. Pretty nothing tricky. Here's a, here's a couple of figures that's just drawing a few little people sitting in that, sitting in there like that. There's a couple of people. There's all kinds of stuff in here as well as you can see this kind of bits and pieces in there, which I'll old drawing. But not so important. The person is standing like here. Only horizon line like this. Look coming down. Just join up as one. Kind of sticking out their heads, probably too big. Let me just reduce that down. Holding the most are here. I went to the water like little petal. A bit more like that. Rule. All this area is gonna be pretty dark, so just gonna be a silhouette. I'm just gonna be quick little silhouette. A badge here in the background or little fairy starts out with a rectangular back, like that. It's thought it's kind of like a rectangular shaped as well like this. I'm just going to hatch in the back of it. Won't even really going to put in much detail, just a quick little indications like that. Sometimes you're gonna get boats and perhaps bits and pieces in here. Normally. I don't know why, but in Venice, you didn't really see too many of these boats with stuff sticking off them. They're just more rafting, just a lot of blank people, carriers, fairies and stuff like that. This silhouette of the buildings in the background. Yeah, just look at how we can simplify. I'm going to get this kind of the bottom of it is rectangular, base, rectangular with little triangle, triangular bits on top, you can see new triangular sort of bits. The main thing that these domes, those kind of shape here, it's just a semicircle, little semicircle. If you can draw a semicircle, half a circle is equal to. Let's look at the top of the diamonds are kind of another sort of sticks out like that. And on top of that there's another little semicircle control that in like that. Close this morning in there. But it's just quick simplification of what we got. Another one. Let's do another dome. Just a semicircle for the dome like that. We go up and we can do another little dome on top middle there. This tower here. Kind of just a rectangular shape. Coming down. Please see me dimensional aspect of it, which just put it in. Again, another little semicircular type structure on top. In fact, I've done this one here. A little too small. As you can see, it's too small. I've done this one probably too big actually, but I think I'll just stick with it. If you want to make this one bigger. Again, you can do something like just kind of just draw over the top. So I might, for example, draw that little dome up here, enlarge and this base speed at the bottom like that. You can barely tell. You can barely tell, right? And still slightly too tall but little tower in the background overlapping, something like that. There's all these little, these little kind of it's in pieces there. This little windows and doors and all that kinda stuff in there. Don't worry about it. Just drop it in, just drop it in. Actually, continue this on here. The speed that sort of sticks up, up the top here. You've got just kind of run down and go into the distance like that. What else do we have here? We've got another section like this. Just the silhouette of these buildings that are running in the background so hard to tell what's actually there. But I know there's some kind of dome there and this just like I don't know, I don't think that's just a bit something like that. Essentially, we pretty much done for the drawing these few little boats and things that you can put in. These little wooden pylons that stick up scenarios. But something quick. It good. Let's go ahead and work on the painting when his Zoom in, touch into the drawing so you can see better. Let's grab some yellow. I'm going to use a small middle brush, just a little mop brush. Aka same following that step, taking, trying to get into yellowy sort of bits, the warmer bits, I'm going to use a bit of yellow and orange mixed together. You can see here I'm just mixing it little bit here. I'm mixing on the side of the palette. I'd say the mix is about 20 per cent paint, ten to 20% paint, 90% water. There is a kind of a sudden lighter sun air over here, but I'm not too fast. I don't really want to get that in. Um, I wanted to use a bit of red in here as well. There's a pinkish sort of feel in the sky, slightly pinkish sort of fuel. So drop that in a little bit of neutral tint as well. This makes me want to keep this area of the sky super light, but I'm just cutting around the buildings. In fact, we don't need to worry about that. We can actually go over the entire building like that. Red in there. And over everything. Just getting a nice little wash here for the sky. Getting a bit of shininess. I'm just moving the lot so you can see this othering the sky with paint. I like to always add a bit of variation but a tonal variation to the sky. But before I do that and we want to mirror this, mirror this in the ground a bit. So I'm going to mix up the same kind of paint and it's move it down to the ground. The ground but the water. Okay. Yeah. Don't worry too much about these books. I mean, this is all going to be in a dark color afterwards anyway. So even if you go wherever and it's not a big deal, bring that down. Like warmth running through pinky orange color, running through it. Good. Little bit of neutral tint. Just drop that in for some areas of the sky, mixed up some neutral tint with warmth. Dropping a bit, a little bit like that. You can get some little cloud-like effects and inconsistencies. In some areas like that since not all the same color and tone as well. Even if you want to cool it down a bit more, putting a bit of purple in there. You can also do that. Some areas little bit of coolness in there. Like I said, when you're using, when you're using complimentary colors or colors on the opposite sides of the color wheel. So this is kind of a purplish color and then there's a wall, my yellowy red, orange color. It actually, if you see Joy's out a little bit of interest in the sky. This will mix down and it will look less obvious once we're finished. But it's just a bit of Witton wit, fun bit of wet and wet. The sky. Individual that good, good, good. Ready? Let's put some in the water. Just a little, little. Bits and pieces here. Let me kind of indications of waves. And this pair of the water will be fairly dry by now. So you can kind of just feather in some of these bits quickly while you have a bit of time on your hands, tend to make the waves at the front a little bit softer so I can just Lazada, sorry. Like these seeking it, big ones. And then as we go towards the back, I just want to make them smaller. If you use a softness in the end, that's about it. I don't really want to do anything else. But as you can see, we've got this warmth and contrasted with the coolness of the waves which like kind of a purplish color, at least a cooler color. I'm gonna draw this one off, and we'll put in the rest of the final bits and pieces to bring it together. Witton with ways of kind of just disappeared on me. I was I was thinking that they would hang over health. But you're getting a sort of little bits and pieces here. There's not really all that much in this. I'm going to actually redo that and just re-wet this area one more time. Just re-wet it like this bit of water. We can go in there and drop in more of that paint, a little bit more of that darker paint. And this time I'm really going to go a bit more darker. Middle ones as we go towards the back. Bits and pieces. What I'll do is while this water is doing its thing and drawing later, i'll, I'll just work on the. The buildings in the back, save, save some time and then it will just dry as well. These little dark here. The buildings. We're going to put in just a little bit of B using basically a bit of blue mixed in with brown. But I do want it to be more cooler, cooler mix and we want it to be darker than the sky so that it sticks out. But notice DOD has these two here. Go in there. Let's give this one wash in the background like that. Smaller brush helps. So you can see really cut around things and detail better. The domes are probably the most important parts. These domes, some of these little tau is as well. Then you can see it. I can also get it to blend a bit more on with the water. More here. Just combine this up depending on the right-hand side. We got bit here, booting here towards the left. Move this across. It's just, it's basically just the midterm running across the background for these buildings. There's one here as well. Just a little bit of sharpness in this area. Trying to find brushstrokes to paint it in. Like that. Let's get in a little bit of sky mix. Scamming somebody, just a bit of darkness for the top of these domes. Something like that to dropping their dock and off the top of the dome is a little this is a great way to just add in extra details in there while it's still width, I actually laid out, I want to actually drop in some darker bits and pieces for the which you may call it Windows and stuff like that. Just doing that bocage, they own that left-hand side. I'd say this is looking pretty good already. I just want to draw it off. Get back to it, putting the final dot, final bits of darkness. And here, again, we just going to be mixing up the darkest to the docs really that we can get in. So I've got this purplish color which I like. I'm going to mix a bit of rounding with it. Brown and purple or brown and blue. Here on the side. We've got this, again, this blue building that's right in front and we need that to be pretty dark. I'm using this dark paint and then I've just mixed up the frame of this window as well. You can see it's in there, but also I forgot to put in a bit of work in that window, just a bit of background that's showing through. I can go ahead and do that. And it just getting that window better, the roof of the building, they just identify that a bit better. The rest of it is not even really wide. It's just like a slightly darker color. There we go. And I'm going to drop that in a bit of darkness into the base here. Like that. Good, good, good. Little, little reflections are just almost as dark as the building itself. So you can just pick up paint and start to do this kind of thing. Move your arm backwards and forth. You move it, rather than using your fingers. You use your arm. This way. Getting straight kind of reflections that the surface of the water kind of just combine on with the building, join on with the building, which is what we want. That bit more, be more color in the window itself. But that's basically the idea. I mean, even with these little boats and stuff here, you'll notice that it may touch of darkness underneath them like that. But the reflections, you won't be able to see the reflections in the distance. You see them mostly in the objects in the front. Here, for example, you can start going in using a bit of this darker paint and start ignoring out little bits and pieces on the domes in the background and just making it up at some point because I don't want to over do it. But because we've got all this darkness here in the front, I think for some reason by bringing it over, little elements of it over it doesn't look so isolated thereby itself. And then it brings balance to the rest of the scene. If you've got a little bit of darkness, even just for these windows as you can see, dropping a bit of paint in there. Oops, that's a bit too much of a bigger line, but just a bit of detail for the buildings out in the background. A little touch of darkness, hero day. Um, I don't know. But just a little touch like that, define you've been in the root topic sheets, darker at the top there as well. So you see really this last step is a lot of detailing and just playing around with all the docs. Essentially. Let's go and move over to this left-hand side here where we've got these these gondola going away, going across, it's all the same color. Sunlit silhouette. I'm just going to cover most of it in this same dark color that I've mixed up. This is the final dot bit scene really. You can see the figure here just standing into the scene. I just put a bit more, a bit more of that paint up, kind of connected up with the boat. The Gonzaga that it's holding this kind of in the water. You've got bits in the boat. You've got two figures in here which are just a silhouette again, like that. These bottom of that batch is a little more of a shadow underneath, a little bit more kind of reflections and stuff because it's closer. But it's basically the reflections of this one here where we've got a person in here. The reflection of God at steering the gondola. Interesting reflection of him like that difference. A little bit of something here on the water where he's got the paddle in the water. The areas here underneath the butt. Little more reflections here as well. Okay. Good. We can also look at putting in some sharp reflections in the water. I think these little sticks as well, we're pretty good in the background. These little wooden pylons here, the background like that. But of course, yeah. I mean, you can put some closer. I mean, you can do some here as well. Not really there, but Something like that. Distance just brings a bit more activity into the midground. But really what I was trying to do is just getting in some little sharp reflections on the water. Report. So little things like this. Again, move your across the water like this. Just the entire arm just good enough. Right in the front lift, right? At some points it was skipped some points it won't just make those ripples in the background trying to make them smaller than the ones in the foreground. And as you go into the foreground, um, you also want to darken the paint a little as well. Again, what do you do it but just here and there. I mean, you can just some of them are large. Some of them adjust these kind of shopper ones running across the edge of the surface of the water like that. We've got some soft wet and wet ones and we've got some stop a wet and wet ones. What we're doing here, we go out to the back and it's becomes quite. Selections repose in the water. How about we put in some birds, little birds in the sky as well. Just a few little v shapes are running through the scar like this. The brush closer down to the tip if you want to get more yeah. If you want to get a bit more, control like that. Can I redo that guy bit later? The gondola? I feel like I could perhaps indicate and things like that better, but I'm okay with it at the moment. But sometimes you spot bits and pieces that you might want to pick up. An auteur. Re-emphasize, rework on later. These birds are great. I love adding the mean because they help to bring me seeing together, join everything up. What we've covered in this exercise. In these exercises so far. These we've talked about colors. So we're using combinations of warm and cool colors. Normally with the silhouettes of the buildings, the shadows, the darker bits I'll use, I'll use a cooler color because that will bring out the warmth and the sky. I'm using combinations of cool and warm colors. We're also using a range of values. So having the full range of values is so important in your paintings to give it a sense of depth, that's what a lot of people wonder. How are you able to make objects appear closer or further away? This is darker, these two bits are darker and so they appear a little bit more forward. Whereas if you look at this, the background is pretty lighter, considerably lighter compared to these two. Here. In case they're gonna look, it's going to push it back. And similarly with the sky, it's the lightest area there, so it's going to push it back. These are, these are some, some good tips in terms of the colors. The color mixing. We've talked a bit about how much the concentration of color that we're using. We've done some exercises with finding out the relationship between specific colors and values. So you often have a lot of warmer colors. They tend to have lower range of values and cooler colors tend to have a higher range of values. So warmer colors tend to lend themselves better to things like skies, sand, even water when you get reflections here. So the warmth of the sky reflected in the water. But of course, I mean, you can dilute down something like an ultramarine blue so that it gets very, very light and you can paint the sky with that as well. So it just again, it just, it just depends, but I do find with the warmer colors, I tend to paint similar things with them mainly stand sky, rocks, little shrubs in the foreground, stuff like that. I think it's the process whether you do something simple like this or whether you do something that has a lot of detail in it, the process is still the same. It's just that you spend more time on each step. So you spend more time detailing at the end when you spend more time drawing it, the stat, we spend more time working at the mid tones and putting in all those midtone areas and variations. And that's the difference between doing a sketch and a more, a more detailed piece, you just spending more time. But if you can do little ones like this and understand the process, basically it's once you, once you end up doing the proper logic painting or anything like that, you're going to know where to go in. You're going to do a lot more comfortable in the moment. Because you've done smaller paintings, pretty much the same subject matter. And Ellen says, you learn so much because you don't care about the outcome. Yeah, that's the great thing about these about these sketches. It's funny because like sometimes these turn out better than actual paintings. Because when you're, when you're sitting down and you're doing an enormous painting, you often feel a lot of pressure to get things right and this, and that, and I think try to try to look at it as when you get onto a bigger, bigger painting that, that you reassure yourself. You've done lots of these sketches, you know the process. So give it a go, give it a go, and don't overthink things. 9. Pen Drawing: Murano Sketch: Okay, so let's do a quick little rectangle here of our scene. Quick little rectangle of the scene. And I love to do small sketches like this before actually attempt a bigger project just with a pin and the coloring in or anything like that. Because I find that if you sort of start going and practicing some of these shapes, you feel a lot more confident in the final piece, and this really makes a difference for beginners as well. The thing we gotta do is just simplify things down. I want to show you just a, a quick example of how to draw figures. So I'm gonna put in a bit of a horizon line here, sorry. Yeah, yeah. Okay. Just the bottom of the buildings. But of course we have a bit of a path here. Path going in that sort of exits out like that. But if we put in some figures here, let's have a look at how do we draw and we draw figures. Well, what I always try to look at photos where to put the head. Here. It's basically the, this is basically the vanishing point. And here it could be here, but it's basically the horizon line. We're all objects get smaller and disappear. Because the scene here is quite close to everything. You can see people walking around in the buildings. Don't go that far back. We just kinda have to estimate where the buildings, the bottom of the building starts. So roughly about here. I tend to put the heads around the height of the horizon line. So I'll go in and say I'm gonna get this, these two people's heads in so I can put in the headspace. I always start with the heads because that way you can really gauge how big you need to make their bodies if you put the heads in like that. This is a male figure here. We can have like welcome to do is simplify that body down. Rectangle. The rectangle like that, it's lop-sided and maybe to indicate that this leg is coming forward. The leg we can go in wearing some genes like that. But basically it's two parts. You've got the top part of the leg or thigh, and then you've got the cop here. But you can simplify that down by making it a triangular shape. Another lake here. Go to lakes. Will get in this other figure here, she's got longer hair. Kind of rectangular portion of the body like that. Kind of goes a bit wider down the bottom like that. Then you want to look at the legs again. Link here that might be going back, facing back, back like that. And then this leg here which may be going forward, the front like that. We've got a couple of figures. The arms as well. I kind of just sticking this side. Then. Just two little triangular bits sticking out on the edges like that. And you'd be able to get in. An indication, might just zoom in quickly so you can see the drawing better. I think that's going to simple. It's gonna make it easier. Lucas, good. There's a couple of, a couple of figures. If you look in the background, you can also see some of the figures. They get quite small. Very difficult to just sort of see them past a certain point. But he is the canal and of course maybe some boats. So we can draw some of these boats in. Let's look at the shape of the boats as well. One of the things you have to do is try to find ways to simplify. Here I can sort of see a almost like a triangular bit here for the front of the boat, comes down like that and then it just curves back side of the boat like that. That can be just a simple one there. These ones are just like kind of almost a rectangular like that. And this one kind of overlaps. It's like a spade or something like that there. But this one you can see like a box. So much like a box. Simplify that one down. This one here almost looks like a box. A little bit of this box-like shape because it's kind of round or at the front, but box-like. It's people. People have to sit in it. Another one here. There's another box lock is sort of shape the back and then the side like that and give them to kind of overlap. There's another one there. Someone and so on. Here are a few little quick little. And areas where we've got boats. Like the wall is a wall there. There's a kind of bridge that goes all the way across that that joins over on the other side. But the main thing with this is just trying to simplify. So this is like a little odd, like a semicircle there. Then we're going to go up like that. Straight, flat, straight coming down. Notice I don't really refer to things like I'm drawing a bridge or anything like that. A lot of the time. I don't even try not to even focus on exactly what I'm drawing rather than the actual shape itself. Uh, find that more important to imply what is going on in there. Do we have some figures in talking about figures in the background? You make the head small, smaller, but the same point on the horizon line. Thank you. As we go towards the back, they become less and less detailed. So you can really see much detail in them. There's a few more. I think these ones are probably a touch too small. Let me just read jig them a bit. A couple of maybe walking across this one here, that's just like good his arm out like that walking across the bridge. The reason why I'm doing all this stuff in the foreground first is because then we can get in the buildings in the background. So it kinda overlaps. It's just gonna be a little bit easier that way than having to potentially risk drawing buildings and drawing over the top of the buildings with the figures. This is just the way that I'm choosing to do it. Some more figures. And just as long as you make them, the heads a little smaller in the background and the body obviously a little bit smaller as well. You're going to be fine. Here's a figure here in the foreground. Here, kind of like holding onto something there. And then a couple of links here. Just standing standing near the boots, someone here, the backpack that just walking into the scene like this. Maybe a bit closer. Still on the same point on the horizon line. They just, people just get smaller. We go in. And again, the body's depending on where they're moving. See, this person here is kind of moving towards the right. So I'm trying to put their head more towards the front and slanted forward. Same with this one here. The direction of the body and the direction of the head implies basically where they're going. Maybe someone they told him to, these two people could be talking to each other. It almost looks like they think they stopped talking. Sometimes the hands coming up and stop people signal with the hands when they speak. So that can also be an indicator. Little, little sketch like this. Then we'll go in with the buildings. So firstly, just go with a quick little silhouette of all the background buildings like that somewhere. Little silhouette of all the buildings and look at, look at the shapes in the buildings. I think that's the most important thing to look at the shapes. That's just a box building here. It's just a box with a curved roof, a slanted roof like that. A bit more in here. But it's just the box. This one here in the background as well. That's trapezoid shape, comes down. And then again, a little triangular roof here, another box and other box. Another box here. That's trying to simplify these down. And really, a lot of these buildings are really just rectangular, boxy, boxy shaped. These are just lightly shade covers and stuff, right? That is an umbrella here. It's a triangle. It's a triangle. And you've got these bits underneath which are kind of like little squares. They're going a bit further out, but that's okay. Two buildings here of a triangle for the roof like that. But that one, just transforming these into smaller shapes that you can draw. It makes it so much more easy you mentally to actually process. And Robin, look at it as this enormous tricky, complicated thing to do. Suddenly it becomes manageable and starts looking like something. I mean, there's not really much in here. To begin with at the moment. But as you can see, it started to take a bit of form. You can pick up a pen and you can even start doing some shading bit of a tonal sketch. Here you can see there's actually shadow on this building. So I can Hatch. Hatching is just moving your pen in one direction like this and keeping the lines spaced apart. Spaced apart. And then this is just going to imply the curvature of the object. And most importantly here, to imply darkness. Darker value. We know the light's going to hit the side of that building. But pretty much all of these ones. Just old dark. So we can go in there and dock in them down. Oops. Document that you already have a little brief sketch. So we can go in just dock and it will be good because you can plan for what you're gonna do with your actual painting. Often people find growing quite tedious and stuff, but it's so important for drawing is the foundation for your painting. If you practice. And you should use these tunnel sketches and stuff like that often. You can improve quite dramatically over a short period of time. Underneath this little bridge that look this Windows is where we can just put a bit of a play around, drop a few little indications of windows here. Not already starts looking like something, right? But it keeps you kind of planning, planning out what your steps are when you actually get into the painting. For example, underneath the bridge, I'm thinking, oh, a bit of, a bit of darkness in there actually looks good. Like just underneath brings out the bridge. I want my emphasize that a bit more. All these reflections and stuff in the water, but can I simplify them? Maybe, Yeah, maybe I'll just get this in in a quick wash of warmer color and then I'll go around the back of it with some cooler, cooler color. A bit of darkness here on this boat, you know, just thinking, how does that look? If I put in a put anybody adopt this there is that kind of makes sense. It looks like there's some kind of something casting a shadow on that boat. I'm not sure what they're just having a look to be the top of the building or something like that kind of coming over, coming over to that side The around with these little sketches. You can even go in and put in a few figures like these. The shadows as well. Why not just dropping a few shadows and just see how does it look? Does that makes sense? Does that, should I include that? I hope that's helped. I hope that's helped you just sort of by going through my process of sketching these little bits, these little practice sketches. Okay? But this hopefully will give you a little bit of confidence now to continue to the next step and so that you have practiced it. We've done a bit of practice. You've drawn a few of these buildings in just no pressure. No pressure. It doesn't have to be, doesn't have to be perfect. A couple of windows. Window the window there, another window here and here. Window here and here being one here and here. Which I might go around the edges and just indicate some of that whites. Fantastic. If there are no other questions, I'm actually going to continue on and start with the with the actual CNOT few quiet, confident now to do this and adding some colors and stuff like that. I think. Decent clan. So let's just zoom back out again. And I'm going to grab out another bit of paper and we're going to start from scratch. Let us took a bit longer than I thought that quick quick drawing, Let's turn out to be longer drawing. 10. Project: Murano Drawing: Let's go ahead and again, I'm going to start off just by and I have that, I have that little practice sketch setup on the side of my table just to refer to at times when I when I start getting a bit too, looking into too much of the details are overdoing things. I look back at that sketch and I think that's what I wanted to imply. So let's go ahead and getting the edges like a bit of a border. Again. Border. We'll bring this one. Again. We place that horizon line. Fine. It was kind of like just below the midpoint. So I can just let's just go ahead and replicate that roundabout here. It will look somewhere around here, I'd say, fantastic. Now what we're gonna do is again, I'm going to start looking at probably the easiest bits to put in. And the other one, the other one that I started with actually went in and started doing this area that is branched out from the bridge first, I kind of like it went out to here. It comes in, it comes out like that, and comes in around about here. And then we've got a bit of this area of the pavement there. Quick look. Good. Just this out all the way towards the back. For that. Let's have a look at that right-hand side. Let's go extend this out to the edge of the page, the corner. That's the area on the edge of the canal. The canal. Course. I can add in more details afterwards. I'm just trying to get in the basic structure of it. Now, we've drawn this book before, going back and we're going to revisit it again. So it forms a bit into this triangular shape here. Here comes to a point and then the bottom of the boat out like this, that goes out towards the back, front of it comes down like that. And we've got this top kind of covering it here, the full ground there is actually a reflection of the boat for the down as well. But something like that. Fantastic. We can go and perhaps get this 12. It looks like we've got it kind of coming in like this off the edge of the page. This kind of rounded shape there like that. Then we've got a box, just this kind of boxy looking boat that comes out there. We can draw a box. Would be fine. Just something like that. Just like what we did before. Good. Line up this one in front as well. This other box you like shaped, shape. Drawing that box. Rounded off at the front. But it's a little bit at the front like that. Good, Good three boats That's getting this other book here. Like this. The better the engine or the motor in the back like that. But again, it's just the same shape. These three pretty much the same shape. This one is kind of similar. They get smaller and smaller as you go out the back and they become less. Listen potent really in terms of like structure and what have you. And more important for just the feeling of depth and the final painting and drawing. To make it look like things are receding off into the distance. I kind of just turn them into small little rectangular shapes all the way in the back. That let me just zoom in a little bit in the drawing so you can just see better. Actually, zoom in slightly. Good. I want to actually start putting in some of these figures and I liked the ones that I did before actually. I'm going to go ahead and do these ones. This person here just in the foreground. Again, the head rectangular, the body. Let's get in that sort of rectangular shape for the body. And we'll get in one of his legs, like this. Comes down a bit more like that. I don't have to draw chars really. I just sort of draw the legs. Here we go. The other, the secondary leg, sick and right leg coming down like that. Cough. Lift it up. And you can see the back of his shirt like that, kind of just walking into the scene. Again, just rectangular shape. The arms I can just put in little indication of an arm like that. He's looks like he's good at backpack on. Actually, I didn't see that before. We just got a backpack on so we can just drawing something like that. It's not necessary. But now the nice little detail that you can add on. And then this lady to the left of him. And again, I'm ****, thinned out the bony a bit more and we're gonna make them appear to be closer to like this or something coming down the back there. Let's get into this leg. Then. These coming down more likely than the upper lake, just the front. It looks like she's walking with that leg in the front. Wherever we do the other just appear sort of lake can just be disappeared back somewhere. We've got a couple of figures here. And not only that, there are a few more often the distance, so I didn't put some of them in the sketch. I'll just add a few more that may be walking or standing around doing doing things. At least one in this person here can just be standing next to the water, needed the boats and just hanging there. They really work well for like the shadows, getting nice little shadows in. I think that went a bit too small so I can extend link increases size of int and a little bit. There's even people sitting down here eating. Whether you want to do, whether you want to actually put them in here or not, it's up to you. I might just go coaches indicate something he has something going on. But I don't want to I don't want to kind of detail in there too much. Let's have a look on this right-hand side. Again, we've got these two figures. There's one figure that's closer here. Looks like he's got two arms, like coming in here, holding onto something there and just walking through the scene. Legs. Just joined these legs up a bit more. But some shoes. But here's a figure closer, standing by the water. And there's a person here as well, kind of walking into the scene that I've tried to draw before. Backpack that look at the shapes that we're drawing. Look at the head, which is kind of like a rectangular shape, the body rectangular shape, the backpack which is kind of like a teardrop shape kind of thing and legs. We can get in these kind of like like like that. It could be one leg and the other one could just be in the front mole. It looks like these persons just walking through walking through the scene. Let's have a look. What else can we add in here? Just getting maybe a few horizontal lines as well on this scene. Just running through background, just having a look to see how that looks kind of implied the economy imply these breaks and things. The ground. Notice how I sort of drag that pen across quite quickly as well and largely so that it doesn't create too much of a strong lawn in there. Got all these figures in here. There's so much going on. What do we do next? Well, we had this bridge, so let's go in and draw this bridging like this. We know it comes with connects up the two sides like this. We can draw a semicircle here on top of the semicircle. Let's put in flat edge like that. Got it, just a flat edge. Then we will join that downwards to go here. Let's do it here on the left-hand side as well. This flat edge like that joins up the two sides of the sides of the canal. There's even like little shrubs and things. He looked at it. There's a couple of little shrubs and table or something there as well. Great. Because then we can sort of like getting some figures walking around here, maybe obscured by some of the shrubs and stuff as well. So you kind of see like part of their bodies but maybe you didn't see all of them. Let me just putting a few more here. The people on the bridge as well, just sort of looking their bodies like to whichever direction you want them to look like they're walking. That one's going towards the right-hand side. We have this one here that's kind of just walking through. So we'll just put in something here. Maybe it's coming forwards. Like that. Person can just be standing out and maybe just looking out from the top of the bridge. Like that semicircle. It's just a semicircle at the bottom. Notice how I draw as well. I usually go in very lightly and very tentatively and then I'll go and then I'll actually joined on the wrist fit off towards the good doc or afterwards once I'm certain that's where I want the line to be going. But I often go in quite tentatively at first. And if you do, you end up with a lot of little lines here and there, but it actually looks good. Good. Probably the only other thing that we need to put in here is like some, some of these wooden pylons as well. So I will draw in some of these. But United, you can see here I'm just detailing out these books are a little more because obviously we now have some bit of structure, better understanding where all the shapes are. So we can, the main shapes of the boats is what I mean. We can actually start adding in a bit of detail. They've shade here and not be worried that the shape is not in the right place. Once you get the big shapes in place, the small shapes become a breathes because the small shapes just to fit into the big shapes in general, it all comes down to placing that horizon line in. That's the separation between the sky and the ground. Essentially here it's hard to see, but it's basically you're going to put it roughly where the bottom of the buildings are. I'm actually in this scene of, I think I've placed that horizon line a little bit too far up. I probably should have gone more like a third of the way up. So this is more like yeah, it's definitely more than a third of the way up. It's a little bit more. Which means it's going to be perhaps more of a focus on these boats. We place the horizon line does make a slight difference in this circumstance. Let's try putting in a basic silhouette for the buildings now. So I kind of like what I did before I came in from the side and you get this kind of reddish booting running in like that. And I know it kind of goes up and disappears off the other side of a building. Just rectangles, just look at them as rectangles. Underneath them. You might get these little shade like this. Big rich shade here. Just runs through the scene. You got to go to get these shades and look iconic out of business. There we go. A little bit more of this kind of look at this as a large umbrella here, goes all the way across. I'm going onto the bridge in front of the bridge itself. That there we go. Just a bit of that side part of it. It's a triangle. It's just the triangle day. And of course we can in this one because I got to spending a bit more time. We can just detail a little bit more like that. Okay. Back to the buildings. There's the side of that building is just a rectangle. Just a rectangle on the side. We're going to go these other two which are just a lot, just sort of, again, logic kind of rectangular shape down the middle. And I'm going pretty light as well. That's just one way to do it so that you can you can, you can basically be a bit more sure once you put in the final lines, look at how I draw the shapes in relation to the others as well. So I'll look at the umbrella and I'll say, okay, these two buildings finish at the tip of the umbrella here. And then we've got four more of these little houses or whatever. And that finishes at the end of that umbrella. What I'm sort of going on about when we talk about making sure the shapes drawn in relation to other ones. That little building here in the background. Actually these buildings and protect perhaps a bit taller, these ones to the left. I can just like drawing and make sure make it MacLeod best. So much detail here. Again, you can pick and choose what you want. Inky guys, you don't have to draw this all in. This is the side of a building, but I'll just get that in like that. Okay. What else do we have? We have another one. He has smaller red colored building. Often the distance and I'm just drawing the top of its roof like that. And then they go bit of a top of a building in the background. Let's do another one here. Rectangle, little rectangle. That the top of its roof like that. This building here gets a little bit tricky. But look at the base, the base where the warmer reddish salaries, orangey reddish color. It's just a box. It's just it's just this reddish kind of box. Okay, So I'm going to go ahead and get this warning like that. Of course there's actually the roof kinda comes up like this. And then let's have a look. Is a kind of structure here. Triangle on top, square and a triangle. Really simplifying this down in my mind. And it's the only way I can do it because there's so much in here, right. And this is kind of like part of that building there as well. I've actually drawn it a little bit funny. I should have had the building here in the back that was a bit taller, but it doesn't matter. We'll just I'll just have to make one up somewhere here in the distance. Something like this. Let me just see how can I just imply the age of a booting, something like that. Good shadow etch away at some of the shadows as well like that. I mean, here that kind of looks like the edge of the side of the building. So we can catch a bit here to that middle bit of a shadow. Let's go in and do this building all the way in the background like this. Top of the kind of disappears into the distance. Now connects on with all the buildings to the right-hand side. Let's draw in these buildings. Go with this dark hist1. That's just in shadow. It's kinda like a pinkish color. It's just a rectangular shape. Bring that rectangle down to the ground. That rectangle down to the ground top part of the building like this. We've got another building that sort of reviews side the side of it here. That look, it's going to have a roofs will kind of look at all these smaller kind of building all the way in the background. And it just disappears off and you can't really see much of it. Fantastic. This building here, there's one that just comes in front of this one. Notice off the time repeating structures. Repeating structures of buildings. I think it's probably something in nature as well. We just like predictability and orderliness. Cds and now places that we live, the kind of structure to everything and they just repeat. There's another one. Another rectangle just draws all the way to the ground. That we think, what do I do with this bit here? Let me get a bit that sort of mixes up just kind of building up a little bit further. Drawing a bit of something at the top here. There's kind of a balcony you, something of the topic, really see exactly what it is, but it kind of just joins up. There. There'll be a little bit of sky because I had drawn the horizon line lower. But really at this point, this is all the basics of the drawing. We have a lot in. We really have a lot of detail in here. It's just a meta of implying a bit of darkness, adding a bit of color, creating a little coloring in book. I'd like to change the directions of the hatching as well. This is the edge of the building facade of the building. I mean, and so you kind of put that on a bit of an angle like that to follow the lines of the building running in that direction. And then this one, I might just put straight, some straight lines like this. Same thing for this one. Just draw some of these lines running down the side of the building in the same direction. And then assemblies that are just flat and straight like this. This one here. I can just make them straight. Whatnot. Illustrate quick little things. Of course, we've got some here as well. There's like darkness and these are just hatching techniques. You can always just do a lot of the dark areas later. In watercolors. This is just another way. It's just another way to add in a bit of detail in a line sketch. Especially because there's no other way really to get into different values in a pen drawing. But just basically, basically doing this hatching technique. We'll do a bit on this bridge as well. Like that. That kind of looks like a shadow covering that breach. Of course, the boats as well. You can get a bit of darkness on the boats, not to mention the ground here as well, but I want to leave a lot of that to light up the actual watercolors. Few more figures. And probably the last thing I want to do is sometimes you've got to lodge a mock-up, kinda like the ones that I used before. Like a lot just sort of flat marker or a just even a larger round one that you can use. You can actually putting some final highlights in bits and pieces. And also one of the things that I think is important here is these little wooden pylons that stick out of the ground so I can just make I can just put something like this. We see some of them are really dark like this one here. There's one that just runs straight through the bots. Run strength through the entire scene like that might seem scary to put it in at first like that, but it's important to have overlapping shapes. What else have we got? We've got a few more back here. They kind of like coming up. You can do this not just in pen, but later as well, like I said in watercolors. Just one way. Again, this is one way of doing things. Little windows as well. When these houses, like what we were doing before. Few little indications of some windows, something like that. That really helps. I think I might have gone a bit overboard with the hatching on that side, but it doesn't matter. It will look better once we get some color, a bit of color in there. Let me get lots of darkness and bits and pieces in here as well. So you can kind of like what we were doing before with the title exercises, getting in the values of certain areas. We can do the same thing here. Just in the pin. Here around the figure is just putting in some indications of darkness underneath this shade. Like that. Swung more. Take a bit more time here. There we go. Connect it up still with the pieces below. Some figures in here as well. A little bit of darkness running through here. Age of a window. Another window here like that. Sometimes you get the most shadows are running across the shape close as well, like that is another window. There's another window. Loci is another one like that, following the direction of the lines of the buildings. So you can see that building is running in that direction. The window also has to run in that same in the same direction as well. There's another one there. There's one here. There's another one there. Some more in the background. Here. Took a look. Smaller ones off in the background. More angle going through with some of these because its area is going to be pretty dark. I'm not so concerned about all the details in here. But we get into Stewart a baseline level of detail as well. I wanted to just outline this bridge a bit more, bring it in, bring it out slightly because I'm worried to lose it to what's Let me see what's around the darkness and everything like that around. Put a bit of darkness underneath to indicate just to bring it out more little shadow underneath the handrail area or whatever you call it. That again, will help to bring it out. This bridge just really helps connect everything up from one. Really quite important for this composition. That bit of air at bottom of the bridge. Let's have a look. Let's have a look at the tops here. These buildings. Again, we've got small windows that just come across the ages of the buildings like this. You can kind of play around with and change if you'd like. Just simplify them down. You want to simplify this down a bit. You have things, roll them all in. Get away with creating more loose the details in the back. Just further back. Generally speaking, there's gonna be lists. Lists, detail areas that are out-of-focus, even. Let's have a look, maybe getting a few windows here, just a quick little. Spots like that. That darkness bit of darkness there as well. Perhaps a bit of darkness here. Okay. Just thinking what, what else we need to put in here. I think it actually looks decent to continue on with the painting. Let's go ahead and get cracking with the painting. 11. Project: Murano (Light): If you have any questions again, just let me know in the chat. I'm going to zoom out so that you can see my palette better. Here it is. Pellet refocus. Sorry. I think I think we're good to go. I think we're good to go. So one of the big things, I think basically one of the things we should add in here, some of the lighter sections older, the beautiful colors of the buildings are lumped these problems, how they all just seems to cheer for these warmer buildings there on the left. Let's go ahead. Let's start off with some of the buildings in the sky for smaller, smaller mop brush. Let's mix up some warm colors. I've got a bit of red. This is a bit of partial powerline road trip that in there. This is just for the shade of this this area, just a bit of shade that it's like a kind of white shape. Their separately won't touch that. You could all kinds of oranges and reds and stuff. So just play around with them and find, basically just try to find a bit of combination of them that you can use together. Like a bit of this red and orange, perhaps he had joined them together. Always try to join. This is again, a funny thing because I sometimes just we get to drawing bits. You realize after in the painting that is actually getting missing. So this is actually a top of the roof here. Draw that in. Lucky this dries real quick bit of brown. This is just some burnt sienna. And this area is, we'll have to do that later in another wash, but I'll put it in a bit of this is just a bit of buff titanium in this section. Buff titanium for this building, which is kind of like a creamy color. Looks looks like it needs another paint job. This one here, maybe I'll go with some green, just a desaturated green here. I think they actually want a bit of a lie, too. Saturated green or something like that. And I can pump in really light. We're using mostly just water in this mix. About ten to 15, 20% paint, except for maybe some of the really warm air is here where you've got you've obviously got more warmer tones. You're going to have to go darker. Look a bit washed out. Let's go ahead. Let's pick up having a bit of fun guys, look at what colors you interested in. Like, I mean, this is just a bit of lavender. Just a kind of a valid kind of color. I'll go back and let's pick up a bit more red. Red here again. Effect. We sum this. Really hear the font is very vibrant red member to get these scene and leave maybe a little sliver of light on top like that to separate it out from the rest of the some areas anyway, and just separate it out slightly. Going to now have to use a bit of blue here, maybe just a bit of cerulean. Took voice. That, there we go. Good. You can also leave some just white, just leave some whites and just continue on with this one like that. Let's have a look. The one in the back, it's kinda like a bluish color, like a turquoise color. It looks like that anyway, so I can just drop that in there. The rooftops suggest always the same kind of burnt sienna type of color. Reddish brown color, which I use quite a lot. You can just drop that in. You can actually mix a bit of orange, orange and burnt sienna, get that kind of get that makes that works for you. There's a bit here as well. Just drop them in to the rooftops. That pretty light as you can see, very light mix. Especially with a lot kind of catches on top of the roofs. You want to leave that as light as you can. Coming down. This, this is a bit read this building. So kind of like a reddish orange color. Putting him in orange as well. Some took voice that stroke in some turquoise here. Okay. I'm just letting everything blends together because it's not necessary. Not necessary to have each shape completely identified. You just have to make sure. Especially with lawn and wash, where we've got so much line and describing things already quite literally at times I think. You just have to make sure you get a little nice little wash in there. And then forgotten to put in a couple of these middle windows. They're updating quickly. Let's have a look. Where else can we just sort of put in some color on top of this roof is again, kind of like this, kind of more of the burnt sienna taught color in here. This building is pretty red, but I'll use some orange just to change it up as affiliate. It's just too much reading some of the areas of his paintings. So I will just change it up, make it more kind of orangey like that. Let's have a look on this right-hand side. The colors here are more subdued. I don't worry too much about it. Let's just put in some, let's put anybody blue for this one. This is a bit of ultramarine blue building. And we can go like maybe some red to warm it up again. Yeah. Bit more orange or something like that, will be swung. A bit more blue, like a turquoise color here perhaps. It says Actually some kind of took, we see a little thing there was I took the bluish pieces, pink. We can get a bit of white and mix it in with some red. Notice how everything is just kind of mixing and blending together nicely. That's what we want. We want continuity in the painting. I've forgotten to do is get in the bottom of some of these buildings as well as some darkness and the darkness. But like pot of the buildings, I'll just try to replicate that top color there. A bit of the pink bit of the SREB, the red or the blue bit of the green. Maybe he likes something like that just to get some color and sometimes you forget. The bridge I will drop in. I've been a burnt sienna. Burnt sienna light. Keep it very light. We can indicate a higher contrast section, especially for the light coming across the bridge. Just going to pick up some remaining color on the palette. This is just gray. And just doll some of these, some of this stuff down. Course, there's figures and what have you in here as well. But I just wanted to double this section down. Get rid of some of the water on the paper and all of it, but some of it. Good. Left-hand side of the painting also has a bit of it's kind of like a grayish ground area here. I'm just picking up a little bit of this. What's almost pure water? Percent paint or something like that in there. I can't say exactly how much. I'd say about 5% paint just to get rid of the, the whites of the ground. So we can have like leave that edge so that it's kind of y to edge for the for the edge of the canal. Have you but look at that just a really quick wash running through there. What we've done here, but I've haven't had to worry too much about preserving light in this slide. Let's put in some colors for the boats. This is just a bit of blue, a bit of cerulean, tiny bit here. What else do we have? Oops, just trying to pick up some of these myths. Got a bit of this, put a bit of red here for example, and I'll mix it in with, I'll get some purple, little bit of purple running through there. Then it dry and do something, do something interesting. A bit more than just picking up cooler colors. Remember all these errors in, in the shade, but at the same time, we will have little highlights in here. If I miss some of them, can go back into them later with some gouache. But notice how I'm leaving little bits of light, little bits of whites on the paper for the tops of the boat. It's just where they might get a little bit of color here. And for this one, orange for the base of the boat. Also, let's get in a bit of indication of orange in the water for some of these. These buildings out and back, you're going to notice just a little bit of orange reflected in the water. That just in the background. It doesn't have to be didn't have to be too much like that. See, it's just the reflections of the buildings over in the backgrounds. They're also good thing to do is perhaps adding a bit of warmth in the background for those buildings as they continue down the scene. I always forget to do this as they come down, you just sort of bring them need the bridge as well. Like that. Might be something like adding lighter with the pin. Well, just to redefine that section, going in there, Let's put in a bit more. Let's put it in a bit of turquoise color. Usually if you meet a bit of cerulean, even a bit of ultramarine with a touch of yellow, you can get the scene. So water is pretty dark. It's not that vibrant as well, so I'm just mixing in a bit of neutral tint. Dial it down round these boats as well. But let it touch where it goes to the way you've got all these warm area and they just let it touch mix. And you gonna have to also get rid of all the white of the paper. You can leave little speckles of white in there. Oops, let's see. What do we got here? It's kind of like steel the bottom of the reflections of the book. Really, this should be a bit of warmth underneath this boat. Slide, an area like that. Just cover the rest of the scene. Bit of white, just leave it a bit of burnt sienna or kind of like a reddish color to this area around the imply bit of that coming through there. That kind of running through that canal. Good. Good. So we've got some reflections. You've got bits and pieces here. I think we're off to a pretty good start. Let's, let's get the sky and a bit of cerulean blue. Do the trick. Let's drop that, Sir William blue in and say we're using I'm using about maybe 50, 50% percent paint and 50% water. I want to get this wash in a very smooth fashion. I don't want any clouds or anything, anything like that in there. I like how the reference picture looks, so I don't want to I don't want to change that part of the reference. Just over the top and just cutting around these buildings, you'll notice that the value of this blue is often actually quite a bit darker than the actual yellow and the warm a bits on the houses. This cerulean, it has a slightly darker. So we're almost doing a bit of cutting around with negative painting. If you think about it. Fairly smooth. Er, the smooth in there, I don't have too much variation in turn. Variation in color, it's just the same. Running through the top. We can stop putting in perhaps little bit of color the figures. I'm going to zoom in a little bit so you can see better actually. A little bit of color for the figures. I'm gonna be using a small round brush, round brush. And we'll go through maybe with a bit of blue to blue for some of these figures here, that figure there, light, keep it really light. And don't be worried to also leave some of the figures the same color, just leave them whites as well, That's fine. They will come in. This figure here. Could be wearing a white shirt, for example. We just leave that one. Takes so much self-control at times I find to just leave things. He had just leave things basically. That's putting beautiful color for those background figures. Maybe a bit of warmth here. If it is figure, touch of color. This little bit of white will help indicate perhaps some sunlight coming in from the right-hand side. But what we're gonna do, I'm gonna draw this one off. Some quiet happy with, quite happy with how it looks this washing. You've got to remember there's only so much detail that you can get in one wash so you're going to have to dry it off. We'll let it dry off at some stage and then we can get an old the shadows afterwards. So let's draw it off. All right, looking good. Really the final step here, before we are done, just putting in those final shadows, like I was saying before. So I will show you how to do this and we're gonna be going through in using a small brush, I think probably be better if we use a number four or number six separately, number six brush, I'm painting on an A4 size paper as well. Just gonna get me a little more control. But of course we have some areas like these larger buildings, which if I actually use a bit of a mop brush, that's gonna be fun. So I might use the mop brush first and then we'll go in with the details of the figures and stuff with the smaller brush. So let's, let's do this. I'm going to go through and let's just dock in this building first. Could've mixture of neutral tint and a bit of purple. A little bit of purple in neutral tint. I'm just going over the top of these buildings once more. You can get. But of course, if you live in a bit of that light in the back of the building, it's no big deal as well if you sort of get that lost that leave them in a bit of that previous wash. That's okay. You just want to make sure it's dark enough so that it P is that there's a shadow on this building, kind of darkness then. And following along with the same, we did it a loose sketch before Verona. We're going to go in and we're going to carry that shadow into the ground. This bring that shadow down. We're still, we're still cutting around some of these figures as well. I didn't want them all to disappear. Putting around bringing that down to the ground. It looks like constantly assessing and looking whether this is dark enough. I'm not just readjust just in areas. It's pretty dark. Cutting across here. I swapped to the smaller round brush. Now you can see there is a sharp edge here. We have that shadow is on the breech, going to draw in that bridge up. This just join that bridge up. This building here in the distance is slightly darker as well. I'm just going to dock in this building. Leave a bit of that orange color in here as well. That's why I say you said it's sort of touching, go in and leaving bits of the previous wash so that you can see the beauty of it sort of show through this area here as well. There's a little darkness on this building up here. We can just call it that bidding like that. Go a little darkness. Even up here, there's potentially a little darkness there as well. Drop that in like that. We're getting distracted. We're just going to go into this area and dark and this whole bit. Let's pick up this larger brush, aka mop brush. Bring that across like this. As we get new. Soften off that edge. Not actually widened, give slink down. Why? Because it's still in shadow. The buildings, the buildings, sorry. The boats here also needs to be dark and slightly just adding neutral tint. Now, I want to do this carefully as well because I hope to preserve some of this some of the previous washes in here where I can go and read her that blue there, I might have to go back in there with some gouache. Just a little bit of darkness and here's good. Let me just see if I can lift off some of these color. That's good. Here and this side of the building that's kind of like doctor as well. Smaller round brush comes to the rescue. These darker shadow here. Just picking up some shadows in areas that you have identified here. That's good, doctor in there. That is a bit of darkness and they're just dropping a bit of color at the top for this one side of that building like that. That's another shadow area like that. Let me, last thing I'll do is put in some of the shadows for these figures as well at the same time. Let me mix up, I'll mix up a bit of, maybe a bit of purple in here with some, with some neutral tint, Brown. Perhaps. You've got these shadows of the fitness that had just running towards the left-hand side because the light sources from that right side. Sharp shadow like that. Interestingly as well, they asked some of these pylons, these wooden pylons that we It's getting a bit more detail. I'm just putting in, as you can see here, just a bit of darkness and legs also of the figures so that it draws them out further. So we can connect that darkness onto the legs. Like that. Something like that. Dog is going into the left-hand side. There are some of these holes just running through on day. So maybe a pickup, a bit of brown color. See we can get a lot brown, a bit of light brown in here. Something like Greece. And I'll actually probably use some gouache later to just bring up the, the lighter side of these polls. But like having some of these and you would be good. I was missing some of them running through because they actually still a bit too dark actually, but they need to be a little lighter. Something I've used a slightly darker tone for that. I would probably I'll probably use some gouache and just bring it back out again later. The highlights on the right-hand side. There's more of these polls and things here on the left-hand side as well. You can just sort of put the mean. They big run all the way towards the back. As you can see, pullover, Venice will live or to put all over the place. Of course, this bridge. It's got lots of breaks and things like that in there as well. You can use a pen to draw in the details, or you can use the side of your brush, pick up a bit of paint. Scratching a bit of texture here. That scratch intubated texture. Maybe with some darker paint areas. I think I'll do this one now and we'll go back to it later and we see how is. One thing I've not done is putting some ripples in the water. I always like to put in some ripples in there. So I'm going to pick up a bit of dark paint, neutral tint TEA, and see if I can just get myself in a few ripples, especially underneath some of these boats, to just make the water look a bit more live widely as suppose. Near the base I tend to put largest repos as you go up and just make them smaller. Little report was even running across these warm area. I couldn't be so careful years. I don't want it to I don't want to just be to just use a PDS, tiny little repos here like that. And that should do it. You just got such a cumulative process is building up detail. I'm nearly done. The final bits, I would say just putting in some really dark shadows. After that, the shadows will go in with some some white, some white gouache. I will give this a quick trial. 12. Project: Murano (Shadows): Final bits and pieces, final dock areas. I'm just going to go in with really just basically some neutral tint in the background. And I'm just going to start coloring in areas surrounding especially some of these figures here that we've got. This, we'll draw them out better. Just create a logic element of darkness and some areas of the painting. More contrasting areas feel that's what's needed right now to just bring everything together. Especially maybe on this side, you might be missing some Doc of figures or some just some extra darkness in the background like this. So I'm going to just cut around those figures and create a bit of little bit more drama and mystery as oppose here in the distance. You can go out like these. Bits and pieces running across the buildings like the shades that just run across like this. They can also form out of this dark shapes, balconies and things like that here. Of course, underneath the buildings sometimes you get these Joppa regions of darkness that he is just adding in those funnel, real dark areas. Figures, a little figures on the breach barely see them Now. Bit of darkness underneath this bridge like that. You can do this forever. You can spend all day just detailing this, adding in additional darkness see underneath the rooftops of these buildings. But that's what you want to do. Just putting a little edge, a little line that creates the impression of a shadow running underneath the rooftop. It's amazing how much difference that makes sort of about implying what's going on. Just the little shadow that's cost. We got here as well. I think I would've shadow underneath these. It's just one line. We need just one little line there. Suddenly things start making a bit more sense. Like some of these polls, I will just want to, we do some of them a bit as well. Maybe add in some brown cerulean, blue because some of these figures to the right, at a touch of red. The bases and hits felt that in I know this session is going on for quite some time as well. Get there. They won't get there. I think that's looking really started to come together. Probably the last. It's just looking at these little shadows and little areas of contrast that are remaining and bring it all together. Which includes obviously the really dark areas, but also can include the really light areas and as well as some of these mid tones that you might have missed out. And before when you were doing the shadows, kind of just touching up in areas. Number all the layers that you put in, they just add up, add up. And then at the end he starts looking like something. Maybe some more darkness. And this figure just making sure to be dark or something. Redo that shadow underneath. The legs and just add some more, little bit more darkness. I think that's obvious enough. The shadow is well, what more contrast basically is another figure off in the background. Oh, I forgot to put the legs of this one in here as well. We want the mean to the best one. It could be something else like a stand or something drastic. How about we put in some, some good old birds in the sky, just a few in V-shaped, clean through the sky like this. Simply fly through buildings as well. So you can get some that sort of go through the rules and stuff that I want to put some hair onto some of these figures. I always tend to forget to put the hair in. It brings things together. It makes them kind of more like people. When you sort of signal out where the tops of their heads are. So whether that be with a bit of gouache or by putting some heroin or highlights or something like that. It does really help. That's okay. Set that mistake and move on. Could be they could just be like a flock of birds or something. I'll fix it up later. Coming through the bat just little bits and things can even have a little bit there or something like that. Great. So let's get into gouache. Forgotten, I didn't say I was going to put the hair and it's putting a bit of brown. Top of some of these fees hits this diagonal. You can actually use the covenants later became mixed the gouache with some other colors to get in some different hair colors and stuff like that. They're good. Let's give this a go. Squeeze out some, wash on the palette. Dry off the brush, pick up some of these squash. It's kind of it's kind of turned a bit grayish in color. It's hard to hear, but initial color of the gouache, especially when you've got so much other colors on the palette. I've brought down Guassian here. Let's perhaps putting in, um, some water into this ******** needs to be a bit more liquid. Water. Quash is a great little treat basically that allows you to recover some little areas of highlights. But the trick is to not overdo it. So when you're using it, you see what I'm doing here. I'm just kind of like feathering it into some areas. Maybe to just bring out the impression of the boat. Sort of areas inside the book perhaps, but I'm not using it to really color anything in. Dry this off quickly. This okay, I'll draw it it off a little bit and indicating the heads of the figures here like that and a bit of light bouncing off the shoulders like that. Perhaps we can do the same with some of the figures. Perhaps often distance there. Something like that. I mean, there's a person here as well. Liked the color there. Sometimes on these wooden pylons and things, you might get a bit of light coming off or reflected on the right side of them as well. So that can be good to indicate just a little bit there as well. Any area that you think you could indicate some light. Contrast. Give it a go, give it a go. I mean, look at these, especially these wooden pylons though this is what I wanted to do. Just to make sure that they more sunlit. Like that. Figures, we've got one here, shoulder and then one here. Shoulder of that figure like that. One here. Distance, another one here. Just ignoring the little details on the heads, little highlight on the, on the hits. A little bit of wash on the side of the boat to want to put a little water, just some little, sometimes you get sharp little reflections, lots of reflections in the water. So again, don't overdo it, but just some areas. Why not? Just give it a try? Maybe some birds and white birds that had just been a sun. Sunlight that sometimes running through the buildings. Kind of a bird here. We call this one, call this one. Pretty much done. The vibrancy is tricky and I tend to, I tend to pick with these colors, especially here that's a bit of orange, bit of red. I'm using almost that pure color just mixed with a bit of water and dropping in on as well. Sometimes also when you compare your reference photo with what you have painted, it looks it's very hard to You shouldn't do that basically because the reference photo is always being corrected. It's always been changed around to look like it's brighter, more vibrant, that kind of thing. But actually in the absence of, if you go back to you, if you're seeing it will always look a bit better already can away from the reference photos. So in terms of getting vibrancy, a combination of using, I'm assuming you're talking a lot about the sort of lighter colors here, even the blues and stuff like that in the water. I'm trying to use more pure pigments like just one color that the red mixed with some water, wash that in keeping it light, especially on this side, it's the contrast that also draws attention to vibrancy. So the pureness of pureness of the pigments. So making sure you just using that one pigment. So if this is a blue, just use blue or in orange, I've just dropped in some orange in here, that kind of thing. And I've put dropped in the balloon next to it. And so it contrasts and mixed together and it looks more vibrant than it actually. It actually is. I'm having trouble with the shadows. The shadows, with the shadows. And just remember that the light sources to the right side. So somewhere over here there's a lot and we're going to have shadows running towards left on everything that you can see here, the figures, the buildings here on the left side of these buildings, you're going to get a bit of shadow. So that side of the building is exposed to the light that's emitted. That's the shadow behind it. Okay, So really I just mix up a kind of neutral tint, which is basically a combination of all your primary colors, red, blue, and yellow mixed together. Basically adding that darkness underneath them and the contrast between the dark and the light of the ground. Because we've got all these like super light colors over here. It really brings out those, really brings out those shadows. A little bit of darkness there in the background as well. That's helped quite significantly as well, increase that sense of feeling of lights running through the scene. There's a lot of things, there's a lot of things in play. Now the thing is that you might add the shadows and then you might think that's actually not dark enough. Now I want to add another layer of darkness to that right-hand side, which I can do. I mean, I'll just demonstrate now for grab a bit of just a light wash of paint. Just a light wash of neutral tint or something. This is all dried. Remember, you can only works when it's dried. You also got to be careful about going over those bits and gouache. You can then further dark in this. This takes, when you're learning to do shadows. In the beginning. It's difficult because you don't know exactly how much paint to use, how dark you need to go. And so sometimes you go too dark and sometimes you go too light. I still do this. To this day. I still do that. I still have moments where I'm mixed the wrong color, the wrong value. And it's to know enough darkness they are known a flight. Just go over it again, just add in. You see how I'm using the side of the brush for larger areas of shadow. I mean, this works well when you're talking about small areas of shadow, it can be tricky. Just a quick little glaze. This is what the technique is calling, just glaze, glazing and basically just adding a thin layer of paint over the top. And glazing can be used to create different colors or it can be used to certainly stock in an area. Again, what we're doing here that will create a strongest shadow. Which means also you're going to have to go into these boats and shadow them as well. Little bit. This a little bit more shadow. But if that means that you end up with a painting that you're more satisfied with. All that is. That has I guess, more contrast in the shadows if that's what you're looking for. Definitely give it give it a try and get it to that point where you're happy with it. I think a lot of, a lot of artists you see actually online, they don't include the whole process when they're doing when they're doing a painting, they actually can take hours and hours to do one painting, but those speed it up a little cut-out bits and pieces. Cut out bits and pieces. But often, when I'm doing a larger piece of something and take a really long, really long time as well. It's quite normal to be going back again, changing things up. Doc and in here, having a look and thinking, okay, that's not, that's not what I wanted. Let me just read redo that beta or something like that. Let me just add in a bit more darkness in that area. I wouldn't do any major changes in there unless it's a 100% necessary. I'm talking about things. Things like darkening a certain area or for adding a little bit of detail here or there. Here's another thing that I might do. I might pick up a bit of white gouache. And I might go and add a bit of white gouache into some edges of the windows. Let me show you cc of the window, some of these windows of economy wide frame tool. I can go in and just do this. Where do we go to pick up a little bit of detailing in this upon a little wireframe pay, something like that. Again, that does add a little bit more interest. I'm not gonna do it too often, but perhaps I might go back in there when that gets dried and then add some whites in there for the windows in the darkness. It's up to you what you do. But this is the kind of finishing touches and they can last for their removal if stump. Doing this very long time, but as long as you are enjoying yourself, that worried about how long you spending on it. White acrylic works just as well. Only thing with white acrylic is I think once you put it down, it's very hard to yeah, I didn't think he can re-wet acrylic. Acrylic. So think clearly is a water-based that you can, but I think most of them just dry. So if once you put down that what you got to be prepared to just deal with it. You can see the sketch, the two sketches here. That's the first one, quick little value sketch. And then we've got the final one. The final one here. 13. Project Summary: Today we have covered a lot of information. But the big thing that I wanted you to understand is the relationship between color and value. Because often you see things, you see tutorials about color or how to use color, but they don't really integrate value and how to simplify it all down in an actual painting. So we've actually done a whole bunch of exercises. We did a value sketch here just with one color. What else have we done? We've done another nice soft and soft mixing, color mixing sketch here where we've talked about using the light colors and dark colors, as well as combining complimentary colors from maximum vibrancy. So we've done that. We've done another scene here, quick little scene of Venice of a value, value sketch with some basic complementaries. Complimentary so much to colors here. I think just trying to get you guys to understand that color. Color is important. But if you notice, I've barely used many colors at all in this painting. I used very few couples, but I used them to the maximum. The maximum potential. When you use too many colors, it starts looking overwhelming. You don't want someone to sort of look. And it looks like it's just there's no rest for the eye at times. And when you use limited colors, it becomes a lot easier for one for you to know how to balance it out. So you might have orange, yellow here, a bit of, a bit of red here. And then you might have ducts that just have a similar kind of color scheme, like kind of purples, purples and grays and stuff like that. Rather than having brown, purple, gray, a bit of dark red, it becomes too overwhelming to figure out. And then you can go back to your belt and say, Hey, can you do a shadow? I'm going to use this color. You're going to remember that gray is also a combination of every color grade. I think one of the most versatile colors. I guess we've talked a lot about color, value. The palette I use warm and cool colors. Combinations. We talked about things like color combinations, like mixing your primaries. Using Combinations, complimentary colors of your primer, of your things like yellow and purple, blue and orange. As you can see, it's mainly just warm and cool. Look at it that way. I touched a bit. I didn't really talk too much on using other combinations, like just using maybe secondary. So sometimes in some paintings I'll use green, purple, and orange. But you can have a look at it. You can search this online. You can try out There's analogous Mitch mixes. When he caught split complimentary, split complementary where you have say like yellow and purple, which are complimentary colors. But you're going to, instead of going yellow and purple, you might go yellow and then the mixes just to the left and right of the purple. Just so it doesn't look too. Gordy. There's many different types of combinations people use. And if you look at even Manet, he uses like users like analogous mixes where they're all quite close on the color on the same side of the spectrum. So you've got, he doesn't have too many darks in his schemes. It's very like with the Haystacks and stuff that he paints and fields and stuff. Very hi key sort of compositions. And high key just means like using really light colors. In all of his paintings with some, with some violet type of shadows, which is still on the reddish end. It's very interesting. But I think for you guys, simplifying it down to warm and cool. Main theme, the exact Kelly you're using doesn't matter all that much. If you look here, we can imply so much with few colors even when we use just one color before. So the wet and wet techniques, but definitely try this one again. Where is it? I'm a try, try mixing your colors on the palette, on the paper. It's kind of like an advanced mixing technique, but it can be very difficult to control. But when it works, you get these lovely variations in color that you can't really get even if you mixed on the palate, the granulation, some interesting granulated clouds and stuff like that as well. And depending on what you're using, a lot of what to what to try for later. But if you can get your wedding wet, you get comfortable with painting wet and wet. You can speed up. You're painting by so much because just the amount of matter stuff that you can paint wet into wet and then later once it's dried indicates some little details in there. You can really just painting most, most anything in two layers. What else did we go through? Went through different agree with all those exercises. We went through some line and wash IT staff. So in the second section, so drawing figures, we talked a bit about these. How to compose and draw figures, how to reduce shapes down, how to reduce buildings down into shapes and any kind of structure. Rather than looking at the structure and being like, Hey, this is a boat, this is a bridge. Look at really observe what that bridge is composed of is a semicircle at the bottom. And then there's like a flat line at the top, like a horizontal line. How far does that horizontal line go? It kind of goes from here to here, maybe like a third of the way, the third of the bridge in the middle here. So then draw it there and then look at the angle lines. You know. If you look at shapes like that, really will improve your drawing and painting schools considerably. Talked a bit about perspective placing heads, talked about patching as well. Of course, we finished off with this project here. So here's a little Zoom. Meeting one. What I've done today, I'm really excited to see what you guys have come up with as well. 14. Class Project: Your class project is to sketch and paint a scene of Venice. This can be the same featured in the final class project video. Well, based on one of your own photographs or saints, you can also refer to the attached scanned drawing and painting templates. I recommend joining HCN freehand. Drawing is an important step in improving your painting skills. Provides you with an opportunity to compose and plan your painting. Once you finish the drawing, use the watercolor steps and processes included in the class to complete your painting. Finally, upload your project.