Line and Wash Essentials: Urban Sketching for Beginners

1. Introduction: Welcome to London wash essentials, urban sketching for beginners. In this class, we'll be going through the essentials of what underpins an urban scene with figures and buildings, will run through helpful exercises to show you how to plan and compose a liner brush painting. Let me to see shapes in everyday life is a crucial skill and simplifying complex shapes such as buildings and figures. In this class, I'll show you how to train yourself to recognize and reduce down any subject into simple shapes. This will greatly improve your confidence in drawing and lead to more accurate representation of your subject. Understanding the steps and processes required to piece together a painting is crucial. Leave it, I'm not. Painting begins even before you put your brush to paper. Do a variety of exercises that will build your confidence in knowing what colors to use and what time to use specific techniques. Also go through my seven step process that will show you end up with a painting you're proud of. One of the most important skills you can learn is how to start your painting. Giving yourself permission to make mistakes or to create imperfect work is a must. Share with you a few tips that will help you avoid the common pitfalls associated with starting a painting. Excited to get started, let's get painting. 2. The Art of Beginning: The first thing I really want to talk about is the ADA beginning. Why is it so hard to start? I think it's a psychological thing. A lot of time we overthink things. We think too long about what we're going to paint. We think too long about all the roadblocks in our way. Am I going to do this? How am I going to get to the end project and result? And I think the process that I teach you guys, that's really going to give you a bit more confidence and starting goods, if you know how to get to where you want to be, then you won't have that sort of hanging over your head, that pressure and you'll be thinking, I don't know what I'm doing. Let's grab out some pins for this. But again, I just want to do some exercises and I'll talk to you as well about just some of the tips that I have to help you to kind of help and get started. And like, let's go with a circle with a pencil first. Swap the server to another sketchbook. That's often when we are starting to think of all kinds of excuses. Excuses, but things that get in the way, there's too much stuff to get set up. Grabbed the pins, go to grab the pen, zygotic, grab the brushes out. I think one of the things to keep in mind is you need to give yourself permission to make imperfect work. If you ever look at some of the stuff that I do, just these little exercises and things like that. I mean, these four that I did recently made a new course. Very, very basic, but a learned a lot from, from actually carrying out these little exercises. It's often, you learn the most out of these little, little sketches, these little exercises booted, I have cleaned out some portraits, little portraits, quick ten minute portraits that I did for these ones. I mean, they're not as refined as my, my other bits of work. But you learn so much from doing these sketches. And you can see here some of the other ones that we did the other week as well. Definitely give yourself permission and the arts really, really perfectly formed or thought out a lot of the time. I mean, you see people often wing it as they go. And although you need a bit of spontaneity, I think we're having the kind of process of being able to choose as a suitable reference picture, identify the light and dark areas, that kind of things. That will go a long way to giving you a good start of where to basically where to begin. So you're not having to think once you have a vision of what you want to do your painting, to turn up, you know, how to get the, you know, the techniques that will get you there. Let's go ahead. I'm going to let, let's do a couple of exercises. I'm gonna put a sunset. So we're gonna do a little sunset scene. This is gonna be good to practice our basically just out how general washes. So we want to want to basically get in the sky first or the lighter colors. And then we'll move down and we'll get into some of the darker colors below once that first wash dries. But this is going to teach you a bit of wet and wet and a bit of a if this were on dry at the bottom and relating to what we're talking about as well. When I stop anything, I want to choose something that is easy to begin with so that I'm not struggling to think about planning everything ahead. Think about exactly what I wanted. Something like this that's really, really simple. Can just get you started. 3. Exercise: Simple Sunset: It started on this one. Yeah. One of the things one of the things I also recommend if you have an area of your house setup just for art. Basically what I do, I've got my desk here, I do other work and stuff like that. They're bought on the left side. On that side, I've got a whole lot, but a little table and it has all my art supplies, all my gear there. And that makes it so easy to get started. Well, I got to do is literally just reach over, grab it, put it here, and I get started to fill up my water, that kind of thing. When you don't have that, when you reduce the roadblocks in order to start painting, it becomes easier to find. And that's why you sketch books as well. Not to mess around with taping the paper. Dana stopped by that. When I do really be paintings are host tape the tape the edges down because it just gets too annoying. But we do smaller paintings like this. I need to take down, don't worry about it. That's a little tip. I keep a little folder on my desktop as well with all reference photos. When I'm ever bored on my computer, I will search through even though I'm just like maybe I'm at the bus stop or something waiting for the train and we get tramps here in Melbourne. So I'll pull out my phone and I've looked through reference photo websites and I'll go through them and just try to find photos that I like and I'll save them, say the moon little folder. That's sort of gives me a large collection of things that I want to paint when it comes time depending on like, well, I've got like 1000 to choose from. I don't need to go looking for things. But then of course you've got lots in that folder, you have a nutrition, then there's a little loom tips. Right? Let's go ahead now this drawing, it's not much drawing at all. I wanted to think I even need. I can just look at that little reference photo in the corner. We've got a bit of this mountain here in the background, but you can just make this your own whatever you want. Just a bit of mountain the bottom. That's it. That's all the drawing that we need to do. Let's get started and have a little play around with painting. I'm gonna be using a large mop brush, large for my piece of paper again, like this. The paper rover. These things out the way so you guys can see what I am mixing. Leaving view of my palate. That's important. Bit of water. And let's have a look at the sky. Geez, we've got lots of warm in here. Let's pick up some yellow drop in some yellow here in the middle. I always start with the warmest areas bit of yellow arrow. This is just a warm-up guys. This is just a warm-up to get the creative juices started. Top of the sky almost looks a bit. It almost looks a bit green with some of the blue mixed in there as well with the yellow. I'm just feathering in some of this yellow bit of that yellow in here. In a moment we'll drop in some blew up at the top, but just a light bit of yellow. I've got some orange here. This is a quinacridone, burnt orange. Let's drop some of that orange. And you keeping these very light as well like that. It's mostly just water at 80% water. But a couple of different oranges are good at quinacridone, burnt orange. I got this pyrrolidine orange and you see that so vibrant compared to the quinacridone, burnt orange, I want to go more with the Quinacridone that, that in. And as you can see that it's all kind of blending together. The base things turn more red, reddish hue. So there we go. Look, just dropping a bit here. When you mixing colors like this as well. Just tap the edge of it, just feather it into the edge of the color above. That, put a warmer orange color there. Just felt that this reading like that. Another really nicely. Now we go down to the bottom, you're gonna see that this whole area just turns more or less like a black dot color. Don't worry about it, just go over the top with this warm color. Quick little warm color like that. If you get a bit of these orange, sorry, these little bits of white and stuff in there. We'll just leave it. No problem. Then top it should still be wet. Pick up your mop brush. This is good fun. Just grabbed some of the blue. I'm going to grab some cerulean blue. I want it to be pretty live. Cerulean just use a bit of little bit of ultramarine or cobalt blue diluted down that just drop that in this large brush strokes like this. Well, not trying to paint a masterpiece here. This is essentially just techniques, warming up techniques. Some of the paint has dried you. I'm not going to get such a soft mix and some of the areas up to lift, it doesn't matter. Leave it in the, we have a combination of the blue color. Oops, touch the paper. Sorry. Bit at this cerulean at the top, coming down to this kind of yellowy color. And as we move down, the colors get a little deeper and we start looking at the values here. Now, actually, I'd say just like a bit darker down the base so I can pick up a bit more of this orange and neutral tint. My secret color. If you've heard of nutrient, tend to use a beautiful film bit of gray feather in some of these, some of these dark colors in here. Okay, Just a bit of neutral tint in a bit of this red, orange color mixed together and bring that down like this. You can even practice like getting in some blooms, which is basically just dropping in chipset, just a little bit of water, just a little bit of clear water like this. That will just sort of create some inconsistencies in the sky. Main thing is just to practice group of play around. In fact, this scene that I'm doing now, so it'll be a lot lighter than what we've got on the reference, but that's okay. Just wanted to get that impression of the sort of light to dark effect because we are going to get a little bit more darkness here, only rosin line. As the paper is still wet. You can still change things up. You can still put in some orange there, for example, can pick up some more yellow and drop that into the top here. Few things you can do. Good little exercise. More orange here at the base. That good. I'm gonna give this a really quick dry with the hairdryer. And while it was drawing, I dropped in a little bit of darker paints in there just to create some inconsistencies in the sky. Let's pick up some really dark paint, really as dark as you can get it. I'm just going to get some of this little bit of this neutral tint drop that in there that get in this area of the mountains here in the distance. Notice how it's gonna, you're gonna have a little bit of that on a warmer color show through in the background as well. Like this. A bit around the edges. A little bit of little bit of it fit that into here as well. The background slightly, just a touch of it here so that it kinda goes up. Just trying to find little bits of areas too dark and off up here because the tonal gets a little bit darker up here in the clouds like that. Just a really quick little warm-up. We can actually put in some birds and stuff in the sky, just a bunch of these little bits and pieces floating around that change it around as well. And you might want to, for example, decide you want to put in some, I don't know, like a tree or something. Just play around and getting quick. Impressions of threes. Little round brushes, fantastic for these bits of work and, uh, hold the brush rod at the end. Getting more of these, basically more of these quick impressions, spontaneous scribble and stuff going on. But quick little thing. I feel like I'm already getting into the swing of things. That's a good idea. V as well. If you have like create a little pad or something like that, that you can just start and do a really quick sketching, great little thinking involved. And you're just picking up that pad and you can start painting straight away. Alrighty. So let's do another warm-up, one. 4. Exercise: Simple Night Sky: And we're going to go and do this scene here. It's a starry night scene and this is going to be fun. It's a very dark scene. So we're gonna have to make sure also that there's a bit of a reflection in the water. So let's get the drawing in this bit of page bovine. This is again, a favorite of wet-in-wet watercolor work. A little box around the edges like that. We don't have to do this. You can just paint directly on. I just decided to do it every now and then. Of course we need to put in the drawing. So let me grab that drawing outs. And we know the horizon line somewhere here, it's about a third of the way in the page somewhere here. So just draw a line running third of the way from the bottom of the page, roughly that we've got trees coming in from the corner, the edge like this. He's looked like pine trees or something like that. And then you can see like the distant mountains that just go up and disappear off like this. And the water is just basically these reflections of the trees here, the base. Actually, there's other stuff in this reference photo is very, very subtle. We might just be able to get into a few reporters stuff will just imply that like that. But basically a little bit of lights in the water. How I start out with these night scenes. I used to do a lot of these when I started painting watercolor. I sold a few of them, just these quick little galaxy like scenes. And the trick to, at the end is getting in the gouache quick little tapping technique. But I'll show you in a moment. Let's just have a look at the sky and that we've got, this is beautiful areas of warm colors, cool colors mixed together like purpley allow like hues in there as well. This occurs naturally when we mix a bit of like oranges and reds and the blues. So let's go in and I'm going to pick out a bit of orange. Just get a bit of orange and just drop that into the horizon line here. Just like that. The treeline is like that. Pick up a bit of red here as well. Just mix that in a little bit of red. Just, it's it's such a lighten mix. We're going through like that. Just going to cover that area of the sky and not just that the water as well, I think would be nice to just mixing a little subdued polish color like that, which is really just a bit of blue that I have left on the palate and mixed with the red. Just something in there. Maybe be warmer as well. Light wash of color running through this. Something like that in the sky. Let's continue on. Let's put in some more bits and pieces, bit of red in here. And I'm starting out with all these warmer colors first. And then I'll drop in some of these cooler colors. So I'll least for these areas blank. Let's pick up some pickup, some ultramarine strong bit of that in here. We're going to have to go pretty dark. Dropping a BTN and drop in a bit here. The trick, I think it's just to preserve some little areas of new areas of light. Won't in here. Dropping in like this. A few little bits here. Let it mix in and do its thing. Okay, let's pick up, I've got a bit of purple. I might just grab some of these purple, but you can mix up your in purple as well with your ultramarine blue and a bit of red together will create a beautiful purple. The sky a little darker on the top as well as you can see, I'm just trying to dock and off the sky ride on top. This is going to create the impression of depth, darkness up the top. You can see at the base I've preserved, preserve these beautiful warm colors in there. You got to remember, this is going to dry off significantly lighter. You'd be surprised how this actually draws off. Hold it that top it, do its own thing for a bit. But I'm going to go into the water. Just feathering a little bit of this purple color in here, just a little bit touch of that. For the most part, this is going to be decent amount of light in the water just to get the impression there's some Lighter reflection in their account probably go darker. Still. Look at this as soldiers went and wit work. So we'll just dropping in color. Of course there's a bit of planning and involved in here as well. It's not just complete abandonment, but you're looking at mixing warm and cool colors. You're looking at also understanding tones and values, basically, making sure that it is darker on top, you can already see it's starting to dry as it dries. You realize this needs to be darker. So putting, putting a bit of tiny touch of neutral tint at the top like that. When we come down. Look around here, I tend to also pick up a little bit of water and I'll drop in a bit of water at certain parts as well. And you can create these micro blooms that look a bit like these. These galaxies here in the distance. You gotta wait a bit as well for it to dry until that works the best. So normally I don't create blooms, quote, purposely create blooms, but can do so in this, this one. So really we're just waiting for this to dry off and then aren't getting the kind of the edge of the mountains and stuff later. But let me around with it. This Witton wet technique, because these techniques you use, you're going to use for so many other paintings. Dropping, dropping some blues and see how that looks. If you want to practice with another color or something like that, drop that in. Let's have a look. We're going to fit the renal bit of neutral tint here on the edges. Like this. It's kind of just like really dark neutral tint like that because I want to get in some soft reflections of these mountains. Wherever they are here, There's something in here as well. Little reflections. We may actually be able to just get in the mountains wet into wet. The edge. The edge here is slightly wet. So if you go in here, what's going to happen is that it's going to blend into the sky. If you want it to look sharper, I'd suggest. Yeah, it's just waiting for that to dry or at least dabbing off the paint a little bit. I get a bit funny at times with lit with like drawing everything else with the hairdryer and I don't like to have it sometimes like a mixture that broken edges, we have combination of sharp and soft edges. Here's an example. Drop this in here, right? I've got some of it mixing. Some of it mixing some of it because it's part of that paper is dry it. But the beautiful thing when you do it this way, you have bits of the warmth from the sky mixing in mixing in reflection here. The bass part on the left is mostly dried so I can just go feathering is a tree. Just like that, just kind of like a pointed shape there. A couple of brushstrokes we've done. And you can't get these soft kind of wet-in-wet Luke, if you draw off the paper. So that's why I don't like putting it all the time. It looks more fluid. If you can achieve that, this whole wash in same mix, the brush on the side. And I just getting into a bit of this detail in the reflection here. Downward deflections like that. How about we put some reflections in the water, some little what she call it little bits of neutral tint or whatever color this area of the water is still wet. Just drop in a little bit of paint. Paint is still in. It's thicker than what's in the water. It's darker than what's in the water so that the, these little lines come out, these little reports. The ripples larger in the foreground like that. Practice a large, these large brushstrokes, you can just leaves large, quicker brushstroke because we're not trying to get into masterpiece. We had just trying to practice. I'll techniques and warm up. Looks okay. The only other thing that you might want to do is add a bit more tree-like shapes whenever I'm just dropping a bit out here in the edges and Joppa, bit of extra sharpness. For example, up here. The consistency of paint I'm using up here is very dark. It's just almost straight from the palette. Hope you guys are still following along. I'm gonna draw this off. Sometimes it looks a little bit funny when it's when it hasn't dried. Did you get the shiny bits on there? And it should dry off fairly flat like this. And I'm gonna show you something, a little trick that I do to get in stars. Bit of white gouache, or if you've got some white watercolor paint, some white acrylic, you can do this as well. Squeeze out a bit of that gouache onto the palette. Oops. Bit always comes out a bit funny. I don't know why. Squeeze ever do that in the palette. And I'm going to pick myself out just a brush. I don't know. I'd like a little Let's start with the little round brush. I want to cover the area that I don't want to get wet. This thing currently here. You can even just use your hand actually let me just try that. Using two brushes, using a brush like this to hold that, just to hold it and then using this other brush and what you're gonna do, you're gonna pick up some gouache with the small brush. We need to clean this brush out. You couldn't be careful when you're using gouache, it just turns into a mess if you're not careful. Little bit of this white gouache. And then I'm just going to tap it onto the paper, at least like that. I'm a bit I can be a bit of a neat person at times and touch that onto the paper, but don't worry about that. She kind of using these little tips like these little tips like that to create the impression of stars, that kind of thing. Sky. Tap, tap. You're not spending the whole evening drawing each of these stars. Because they randomize like this, actually look a lot more natural. Just don't do what I did there. I'd actually accidentally actually touch the paper onto the brush onto paper. You get the idea. Something like that. Might be a little highlight or something you want to get in. Could be like this. Like a house or something like that. Some houses or in the water or something. A little bit of this. I believe that actually a very simple night sky scene that you can use basically techniques here to produce a whole bunch of different night landscapes. You can just play around with the different colors, mix everything in and see how it turns out. We can make an introductory me like a cliff side or something like that. Move vertical orientation, all kinds of things. Really. Main thing to keep in mind, the sky is still lighter than the ground. The all these bits and pieces here, the reflections of the sky on a similar, the water probably a little bit in Dhaka, but I actually like how it's got more of a prominent reflection here in my version. Let's draw this off. And we'll also go through a few other things. So quick sketches, these things. I pumped them out constantly. I use scrap paper or I just use paper that's in my sketchbook. When you using when you're using good paper as well to do the sketches, you've got to remember that you also practicing this technique in the context of that paper. When you save, you notice some people have paper that's more for sketching and paper that's for them all completed pieces. If you're using your good paper to do sketches. You also understand how the paper reacts to color, two different values, different concentrations of paint and water. So even though it may not look like the most refined piece, you get a greater understanding of the paper that you're using. Just use the back of each sheet. 5. Choosing a Suitable Reference: To choose a reference photo that suitable. This one here has good elements of light, dark. It's quite simple for what I am doing, which is like a quick warm-up sketch. I'm just shooting something with real basic details now I don't want too much stuff going on. This is just a simple sky bit of water, a bit of land there. But we have good contrast, which is great for watercolors because the lights and the darks contrast against each other make and they bring out the strengths of each. We want to identify the light and the dark colors, of course, the sky here we've got a bit more darkness on the top, fades down to more lighter down the base. And then we've got these kind of darkness here in the mountains. We did the preliminary sketch, which was quite simple really. We just identified the horizon line, which is the third of the way up through in the mountains, Peter, the reflections. That was it. After that, we sort of looked at the compositional elements. So that's things like that. That's even the drawing we're looking at the compositional elements because we're planning what we want to put in. So I looked at these trees that were kind of sharp and athletes will be nice getting fairly sharp looking trees here, pointing looking trees out in the back. Bring them, bring this treeline across onto the side. There were some details here. I mean, it looks like there's going to be a boot or something close by if you look closely at the reference. But actually, I thought I'd just get rid of that. So that was a compositional decision that I made because that doesn't form really part of what I want to portray. Just want a nice simple night sky scene. The compositional part and the planning, the sketching, the kind of mental process of deciding what your pain is going to look like. That's what we're going to talk about in a bit more detail. Okay? Of course, once we've got the sketch in, in the composition, we paint the light areas as you remember me doing the light areas, usually the warmer, lighter areas at the base bid or the water. After that, we put in the dark areas and the shadows. And also the really dark areas that are super dark areas you can wait to the paints. The first wash is completely dry. Or you can try to do what I did in feather it in with some, basically some Lost and Found edges here where it just goes from soft to sharp. That kind of thing. Little highlights and little a, a bit of white at the final bits of highlights. That's it. I always try to work with two maximum three washes. So when we're painting the light and the dark areas, this is transitionary where we're painting kind of like the mid tones in here which neither super dark or super light. As much as I can paint in width to width. I'll do saves a lot of time and you get, let me bring out the inherent strength of watercolors, which is only apparent a lot of times I think in wet into wet because you can get these beautiful gradations. Mixes, colors. Interesting effects going on that you can't get in normally with other mediums. So finding a way to control that in a way that helps. These exercises help. Okay. 6. Shop: Drawing: A little photograph that I've found of a corner shop. Corner shop I think this is in I think this is actually in Queensland. Just trying to select it sought to second. Degas Little corner shopping Queensland in Australia, I think it is anyway. I'm going to go look it up again. But I think this is a really good exercise in simplifying how to simplify it down details. If you guys want to download that reference picture, it is actually in the description of the video. Under the exercise references all of them in there. Or you can just sort of watch along while I'm doing it as well. Basically with the scene, I might play more or less depending on the complexity of the references is a pretty, it's a bit more simple reference. Here's one of the big parts of these programs. I wanted to get you guys thinking more independently and basically applying this process I use in your own unique way, making those decisions yourself in terms of I want to put in this window here or I want to get the shadow in here and I'll make that darker. I might want to put it in a figure here. That kind of thing, changing the composition up to make it. I guess you own unique painting and I've taught you some of my visual language. Visual language to me is just how I move my brush and paper and decisions that I make to imply softness here and there. But at some point, and you definitely in the future when you get confident and more confident in being able to execute these, these techniques, you want to try things yourself, you want to try different things. And I think that's part of that starts with composition. The way you portray us, a scene which can include, like I said, your brushstrokes, but it can also include a lot of the time decisions to simplify, remove, add things in. Yeah. Basically, it means you got to change your mindset a little bit. In terms of realizing some things might work out, some things might not sound decisions you make. As some techniques you use may end up looking completely opposite from what you want, but you must try them. And you might think, should I put this figure in here, or should I make this thing smaller here, or should I make sure I'll put some clouds in here? I was going around the side of caution and we do things that we've always done before. And we'll think, I'm not gonna do that. I don't know. I'm a bit worried, I'm done that before. But and you learn the most from trying things techniques that you haven't attempted before. It goes back to what I was saying in the original part, we'll talk about beginning. Giving yourself permission to create imperfect work to experiment. That's where you understand the limitations of techniques. The range of color that you can use, how much area will blend into another air if you use a certain because your paint versus the light or dark consistency. Let's go through this one and I'll talk more about the compositional aspects as I was saying. One of the things you want to remember, and I'm going to get the pen out, the pinouts, bringing out the reference photo. Mind you, I have not done this. I've not done this before. I've chosen this specifically so that you can see what goes through my head when I'm trying to figure out what to put in. Because I think that's the only way when I'm put on the spotlight place and I have to make decisions. The only way that a, I can show you what my actual mental processes. So we've got this ones rich Java House and denial, not going to get in the rotting or not. We'll see about that. I may have just simplify it down, but you guys, you might want to put in, not want to put in the rotting, and you might want to put in your own writing. There could be a little shop near the harbor or something that you should shop selling drinks in dogs and stuff like that. I thought I'd put in a little. In walks around the edges, something like that. You didn't have to do this. I'm already thinking about what I want to portray in this scene, and I think it looks a bit to need some more life here. There's this is suddenly this fence or something here on that side, but I don't really like that fence. I don't know why. It just looks a bit it looks a bit clunky and it almost interrupts this. I feel like it interrupts the shape of this little shop. It also is detailing and that might be a bit annoying. I might think I want to put like a car here or something like that. I'm already thinking about that calm. Maybe get a few people walking through here, a couple of people. But what I'd like, I really like is this bit of water here on the side that the photographer is included? Let's put in a bit of ground. The stupid or this girl that here. I'm going to sketch in the little sharp and I'm thinking I'm actually going to move it more to the right-hand side. But before I do that, I'm going to just see if I'm getting a little indication of like a car just perhaps popped in front. Look at that just to kind of it's kind of like a boxy shape to cause out, but they slip up into a into a canary up here. And the bottom is like a box like that. I'm just thinking, am I going to do? What am I gonna do with a car here? I don't like all this stuff here. It's just too much bit clunky. I'll put it in, we'll see. But I'm going to shift the hut, calling it a hot this. Let me just shift it over. Move it over to the right-hand side, touching lengthen it perhaps a bit too. Notice how I draw the stuff in front first because it just makes it a lot easier. I don't have to cut in front of things. Here's the little rooftop, something like that. You can stick out kind of like a triangular shape on the edge, stick out like that. I'm drawing very light by pressing down lots of width my pen. Let's get into the top part. Something like that. Yeah. Little indication. The side here like that. Already have managed to avoid putting in most of this other stuff on the right-hand side. Stuff that I don't really like being in there. Good, good, good. Getting this side of that college. Just a little indication that the edge of it, the tail lights here. And of course, a couple of tires at the base. I'm gonna think the light is coming from the top. As you can see, this matters for me across the bottom of that. Let's put in some little I don't know what this is. Is a bit water coming off the edge like that shouldn't be in there. There's a mountain off here the distance, but there's also like a like a row of warehouses, row of the dock. And we've got these yachts here in the background, these little, little boats, these little yachts. And they really helped to imply this. When you see above it, you see a boat. You know that there's water nearby. There's really a good bit of that. I'm thinking. Let's get some people in here. Now here's a person. He's a hint of a person and I'm looking because the car of course, I'm standing next to a car. Normally we want that car to be a bit smaller. We hadn't told her that most caused the heat is going to be just above that car. Hit. I'm slanting a bit over to the right-hand side. I want this person to kind of look like opponent, to look a bit like that person is walking towards that right-hand side. Like this. Maybe an outstretched just getting clothing here. Just the torso. Good. Putting a lake at the fence. Tentatively. Put the one out the back. I don't want them to look like they're running. This just walking, walking through the scene somehow. That maybe this person has like a bag, a kind of a sling or something like that there. That the person is a little bigger than one, which means I'll have to just increase the size of this car. Objects. Figures has to be related to one another. You can't have a tiny little car here with a gigantic figure. This is going to look like a clown car. So we need to kind of make it look like there is a The size differential between things has to make sense. And that takes time. This Bowden, the background, I've made it smaller. I cannot tell you exactly how I decide how I managed to make it this much smaller so that it makes sense. It just takes time observation looking at the reference photo, thinking that butt's gonna be smaller than this car. That's for sure. Unless the bush right in front here. I'm just going to be a good, good amount smaller. But it takes time to figure this out, as you can see, in finding the relationship between objects and things. Here's a little doorway and just put that doorway in like that. Pretty dark inside. And there's another beautiful white frame. These little white frame like that. I like, I like these little song boards and stuff like that, but I want to keep it generic. That's just my personal preference. But you can go ahead and put in whatever you want. In here. You want to add more detail to the sign boards and you want to add in the name so you can just change it up something to what you'd like as well. That is percent fine. Interesting is another door is 20 door. Kind of good. A section like that in the white frame or wherever around the door. Inside the door you can see it's pretty dark. It's just all kind of something in key and it's like a counter or something. Maybe there's a person in here just walking around inside. Just maybe they're just waiting for people to come in. And it's just a very dark and TSO, a little bit of hatching. But I'll actually go in with a darker sort of pin off the widths for this. This is gonna be good. This little window, I really want to put a little window here because it's going to make my figure pop out, that figure pop out better, like that. Of course, this sign here as well. That sign put that in that generally a sign or something outside the shop. There is a bench of some sort here, so we can just have a go at getting in that branch is a box long kind of block. Look at these shapes. I remember when I was a kid in the blocks and things to play with. I just looked at everything I draw in terms of shapes. Triangle, rectangle is a rectangular prism is a rectangle here and it spits kind of like a rectangle with the sides coming in. Another rectangle, square, square, rectangle. Even this figure, It's kind of like a rectangle for the head. Inverted triangle for the lakes body is rectangular. The top going in a bit more. I want to have thought I didn't put another figure. I'd just standing here. I always like to get in these figures just before because when he doing what I'm doing here, see how I'm cutting over the top of other shapes in the background. It's a little bit more clumsy, right? But you can still do it. You can still do it. Maybe I can have someone sitting down here, something I'm just thinking. Something like that. It could be a child sitting there. The child is sitting sitting down and doing something. It gets a bit messy when we've got too much stuff going on. Getting a bit of this windscreen better on. I like to just pick out some thinking line is going to take a line is to get into a bit more detail in here for this. But you can already see I've changed up three things because I like having figures. I really like having figures in my scene. It just brings things to life, creates extra interest. So it might be something you want or it might not be with me. That's what I've done. I was why I put it, putting those figures. I wanted to create some more contrast here, so I'm just using another pin. You just drop in a bit of darkness. And here it's something that, again, a stylistic choice, but you may not like that and you may want to leave it lighter. It's up to you. I kind of tempted to put in this kind of make it look like this is another part of the window here at the base ESC. This is going to draw out some more contrast on the car. That little bit of the contrast and the car got a little bit of the wheel here underneath. Let's put in a bit of shadow underneath that car. Of course, the figures, the legs. Let's just, let me just draw it a bit of that. Darkness for distributed in the legs. A little bit of shadow on the ground to indicate. Again, a lot of this stuff can be done with watercolors, but I don't know why I just get into the drawing at times like this and end up putting in a fair amount of the detail for the shadows. It forms a great impression for the actual painting afterwards, you don't have to think as much where everything is meant to be. There we go. Got another window here, of course, just get that framing a bit better. And again, this helps to create a bit of contrast around this figure. Darkness there would in another window is something here. Something like a dock area there. Another decision that I made that was a little bit different from what's in the reference bit of something up here for the roof top that Java has. Let me think, pick up a thinner line. I'm just putting a few vertical marks. Horizontal down. A bit of darkness you in the right side. This little sign here. I actually like that. This, this fancy don't want that fencing. I will put in something I didn't know what this is, but I'll just scribble in a bit of something here. Notice how it is creating a little bit of contrast with the tiny bit of contrast around the edges. Bring that, bring it forward a bit of darkness here for that background bit. Questions, Some questions from Louise, a fine. Some of those darker pins run when I add water, even if it says permanent. So can you add it in last when it's dry? Yeah, you can edit in last year. You can go over the top. I'm not sure. I'm not sure why. Most pins, if they stay permanent, they shouldn't run. So probably, I don't know. Might want to try another brand or something like that. You want your mom to try to try another brand. But lately I've enjoyed, I really enjoyed using these aligners in combination with ones like everything, the opposition of color, the opposition of values and tone, the opposition of objects near objects far lines at a thin, bonds at a thicker, creates a more interesting scenario because when we look out into the world, we don't get consistency. A lot of time. We get a mixture of mixture of elements. And so if you can create variety in your scenes, I doing stuff like this, it just looks more convincing. So there's some kind of chimney or whatever you don't really show what that is, but I'll put that in. It's just a bit of something. I don't know what this is. There's something there, but I'm not I'm not going to be occupy myself with what it really is. I'm just going to put you put something like that. He is like a box or something. It could be a bean, even just a three-dimensional box thing like that. Anybody's shadow underneath there? What are we gonna do with this? What are we gonna do with this top part here, red's Java house, not the best with writing. Let's try, let's try the pens that I use. These ones I actually, I got in for free from this company called HR GUI graphic pin collection. I had a link in there. I think there's a link in the description. And asking graphic pen set. Otherwise, I've got these other ones here, uni-ball pens. Uni-ball pens, which cost about $2. The good thing about these ones though, is that they have so many variety of tips on them. Most of my paintings, drawings, I use predominantly a.5 pin. And you can, you can do this with a 0.5 penny just takes you longer to color it in. I'm going to try to just get in some of these lettering and I don't know, like I said, the best reds. I'm trying to I'm going to just have a look to see how much space I go. Sometimes you run out of space, you make it too big. So let's put in an odd, It's a little odd. Loops. Again, I wasn't going to include it, but I just thought, let's just do it. The made it there. Since Java house, we need to have enough space. Here. Java house, the list space with Java, bid more for house j. When you join letters. This is something to keep in mind as well. When you're using this sort of style, like I'm using this kind of Eleusis sort of style. If you make the lid is too neat. We connect all the lines and things with the latest. It looks at a place, the economy. You putting in the latest but you're not. Should I put it? You leaving some broken edges in some, in some parts like this. Little broken edges in places, java going to be enough room. Lisa bit worried about getting enough room in Java. Then house. I tend to skip layerings. A lot of the time. It's quit job, nothing. Collado for cool. And Lewis says it's a RED cool drink box. Like one of those like dispenses vending machine or something. Cafe of housewife fit? Yeah. I managed to get it in. You guys kept sort of seen my general process. Now, let's get in some color on the house. What you form is well, is that they, these little tiny little what's in the colon. Like these lines running across the house, the shop. That slightly wooden slates or whatever. Just moving across. Some of these just good to put in some of those I just want to put in. So anyway, getting a bit here as well helps to draw out that bit of the these a little bit thicker here. Strengthen this area. Good. Let's get in some color. 7. Shop: Painting: I'm going to start off with the sky. I'm going to go in with a turquoise, turquoise see color. It's actually pretty it's actually pretty dark. The sky, I might drop in any way that the photographer, whatever has edited it a little bit, just to create more contrast. But cut around it like that. Then drop in some more color here you can mix up turquoise yourself, by the way, just mixing a bit of a touch of yellow ocher into rule at, into a bit of ultramarine, creating a sharper edge. Pull the top of this. Coming down here. As I move down into the, into the background, the distance here, I'm just going to soften that down. Make it very lot as well here. Just like that. Pretty light sort of color there are feathering a bit more touch of ultramarine up in the top as well to just darken these down. Ted. Good, good, good, good. Water here needs to be darker, blue and a bit of turquoise, ultramarine plus turquoise deeper mix. Strip that in like this. And of course we've got all these cars and things not cost. Using this smaller little, tiny little brush, round brush for the speed. Carry that background a bit further down. Good, good. There we go. I'm just going to make this darker, dark water here as we get in closer. Water is darker than the sky. Comes all the way down. Just a bit of ultramarine neutral tint in here. There we go. Get close to the frontal, just like I'm dropping a bit of darker paint. You can even put in some indications of reports and stuff like that. It's not a huge deal because it's so far in the background, something like that. Good. Now, I want to get in some of the colors for the building, buildings, bits and pieces. The color red. To just quickly jump dating. Pretty lot. Something like that. For the base, I think I'm going to just get in some yellow and this hansa yellow mixed in with a touch of buff titanium. Essentially following the color scheme. This whole color scheme that's already on there. I'm putting in a bit more turquoise. See Laura suppose and then leaving some of the frames of the book, some of the frames. This is more kind of grayish up here. I'm going to drop in a little bit of light gray up there. Just mix up. Maybe like a cooler color like that. Let me go. Yellow. More of this buff titanium. Just cutting around these bits of stuff like that. Going three years. Well, Something like that. Getting a bit of color for the background building here as well, just something quick. The ground I'm going to put in same in a grayish color in here and blend it on with the building like that. Three light gray color. Gray is just a mixture of all your primary. So if you ever wondering how to make a gray, just all the the mixed up stuff that's left on your palette. Once you've done that, throw that away, you can use that. To getting some of these grays in here because they actually make fantastic neutral colors that you can use. They actually bring out the, the vibrancy of all the colors. I made the ground too vibrant. I think that would just detract from this shop, that kind of thing. Then of course, we've got figures put in a bit of blue. A bit of the ruling for this figure. What are you gonna do with this other one? We can put in a bit of yellowy warm a color for that one, maybe some orange. I'm doing this because I'm just trying to create some primary opposite. So some complimentary colors. Blue, yellow in the background, kind of a yellow warm color to blue in the background like that. I can do a more subtle unlike these are just more of like a creamy yellow. Still opposite ends of the color spectrum. Here's this car. How about we'll put a bit of blue in the wind screen like this, just a touch of that middle blue and I'll leave the top of it, kinda like that to imply this some bit of light maybe catching onto the wind screen. As I go further down. Why not just dark and off a touch here. You just talk and off a bit like that. This draw this off. We just got to put in some final bits of doctors and living details. Now, I'm going to pick up, pick up this little round brush. I always use that number three or number four round brush, just a smaller, smaller brush. I can get another one. A couple of all this started, he has done a full lab, but they does the trick. Pick out some shadows underneath the roof here, there's some shadow just going to go underneath here. It's kind of grace. I'm keeping it still transparent. This mix of neutral tint that I'm using is probably stolen name at 20% paint. Such a dark paint that you can get away with it using such a small light and mixed a bit. You can see it actually goes over the windows, even you can frame of that window, which is actually frame is more of a brown reddish brown color. I've not got that in, but might be something you wanted to carry that across there. I think the trick is leaving just enough to get some pieces. The door and stuff. Shadow there. Look, we wanted to just indicate that the there's a bit of darkness underneath here. Darker up the top here as well. There's maybe a few little bits here as well that I could create a bit of mixture contrast here. I'm really much I can do up here rather than just ruffle it up the side of the brush to create it. If texture at the top. Window frames, I can pick up some darker bits and neutral tint and just drop some extra darkness in here to draw out more contrast. Into do this as well. It doesn't really go as dark as I wanted to go. And I can get an extra bit of coloring there to the drawer out some details. Remember, I'm not really spending a huge amount of time on each element. He has just more of a into showing you guys the process that I go through. A little bit of shadow. Touch a shadow here as well. Underneath the car. Of course, we're putting bits of the shadow for the car or anybody do that again like that just underneath this part to maybe it'd be creating extra shadow is creating a true darkness underneath caught you, create the impression of light. You strengthen that sense of lot. You can store it and start drawing on bits and pieces of these figures. There's a bit of the hair or something. Maybe there's some folds in the clothing so you can just dock and off a bit of that figure. Same for this one. He did. Shadow underneath the chin. Shadow under the chin. Darkness underneath that figure as well. Maybe a bit of darkness, extra darkness for these venture wherever here in the background and underneath it to. But I really wanted the focus to be on this little shop. The biggest. Think I've managed to definitely managed to achieve that. Maybe a little, few little birds flying around in the sky like that. We go over here, the corners. The only other thing I'll probably want to do is add in a touch of wash. In some areas, you notice how these birds are locked, putting the birds and because they space and they bring together the scene quite well. Create connection between the sky and the middle of the scene. Connections. Connections. I'll put a bit of red. I'm going to read for the faces of these figures. Just a touch of warmth in touch, just a little bit of warmth like that does help to make them look more like. So sad. Day for the arms. Good. Really. Just about done. I'll draw it up and put some mosfets, Guassian, little bit of initial round brush. I'll probably do is go into just some of these boats here in the background. Just bring that up. That a bit more. But the figures course, we just want to get into a bit of lights on the heads and the shoulders like that. It's not gonna be so apparent here actually because there's not a huge amount of dots in the background except that maybe here with a figures of sitting down and stuff like that. A bit more apparent. Car, I mean, dropping a bit like that just allows you to get back a bit or that the white page and putting a few 20 highlights to bring things together. How did you get lots of catching on the edges of the building like this as well. It helps to create this three-dimensional look. Tighten up some bits and pieces. This can take forever. It's stick here and just do this for these for hours. Because most of it is already in all the all the tricky stuff is out of the way. This is just details that you might or might not want to include. Done. 8. House: Drawing: This is a more deep, a little bit of a different, same because it's, it's more complicated. More complicated. It's like a house. Of course. There's a lot of structures in that house. But I think this is going to be good one to do because I'll show you just how to simplify it down so that it's not as complicated as you think. I would probably skip the drawing around the box section, the box or the area. I'm just going to go straight into it. Let's grab the 0.50.5. You look at the house as a whole. Looks so complicated. We see it as this composed of all these trees is Windows, little spies and things is the chimney. But in sight all of this complexity, this structure, There's triangles, squares, the frames, just like little squares that are joined, joined up. The bits of trees and stuff like that. The old just appear. We're looking really closely. It's definitely can see each individual leaf. We're not going to draw each individually. We're just going to draw it as a clump of detail. Okay. Let's, let's, let's give this one a go. I'm going to put in a bit of the ground. Just that I do this fairly straight, dangerous area of the ground like that. The ground the house, we need to make sure that it's not too big, not too small. So we want to leave enough room for the sky. So just think about how much sky you want to have in here. But keep in mind that if you make it, if you make it bad to put too much sky in the house is going to be squished, going to look a bit flat and you're going to have to make it smaller. To make it representative of what we've got here, we want to look at where the top of the house finishes off, and I think it's about a third of the way down. The top of the house is like a third of the way down. Like that. Good, good, good. Sorry, I will separate it into halves. First, we've got the top of the house here. Top of it, which is a third of the way down the page. Now, if we look at the section of the house, where does it start? Where does it touch the ground? So I think because we've got a little bit of area here for the walkway or what have you I think we could put it just above just above the walkway here. We've got these bits of fences and what have you. If we look from here to just this line of where the walkway kind of finishes off. Maybe you just extend out the walkway a little bit further down below. But this is where the fence dots right here. Seems to go all the way down there. You got to the base. If we look at the top of the house, touches the sky and the bottom, we can separate it out. The middle section like this. Let's divide it into half. This is only the right-hand side of the house or something roughly like that. Because you've got this kind of shade, a goal or something like that. And then of course you have a bit of this age of the house like this. Next to the pagoda. That then here on the left-hand side, it's kind of a triangle. Let's see what the big triangle, we know the top of the triangle sort of pops out like here, comes down. So if we look, comes down to like the pagodas stats, shady area, area or wherever the triangle starts and ends. Here. We've divided. We've started off by dividing. Looking at the sky with how starts where it touches the ground, cut that in half. That's roughly where the start of this put Ms. Cola finishes. Here. Connect these dots. Connect the dots. That's also how I draw straight lines. These little dots on the page. And I kind of like connect them up a little bit. I don't know if this is going to be exactly the same size, but it doesn't matter. I'm just going to connect this up. This is just a triangle. Draw that triangle. That I kind of look back at it from a distance I think, is it. Does that make sense? Because at this point, if you made this two big books and enormous triangle sticking out like that, because the lines you've joined in a quiet light, you can still change things up. We still kind of planning. Connect that up. I'm going to connect up another kind of triangular shape here. These little bits of its got a second story of the house, these windows and the sixth story of the house. Again, they have this repeating triangular sort of structure. Draw three dots kinda like for the triangle. It's actually pushed further down. Triangle and a rectangle, the rectangular base like that. And I can plan it out here as well. This one's got more bit of a 3D sort of component to it because it's looking at it from an angle. Because that got a bit of that top part of it coming out like this. This section coming up. I don't like this. Kind of like a rectangular base. We can just start drawing in the little details of it. We can probably extend this out a little bit more like that. Good. This one here, and let's connect up this triangle like this as well. Triangle like that. Then we know we've got this rectangular base that up like that. Pretty simple, that one inside each window. You've got these kind of arches, these like semicircle at the top. Just draw that in. Then we want to draw in the sides. It's kind of like a window looking shape, like a rectangle with a rounded top like that. That running through. Of course, we've got these kind of little details in here for the window. This is again, something you can decide whether you want to put in all these details are not. You just want to make it simple for full Windows, sections in the windows or you can do it like the way I've done here. Of course, in the background you've got these little lines that just run across lines, horizontal lines that run through the top of that building, the top of this house in. I'm just going to outline the top of it a bit more so that it sticks out. When you're more certain of basically where you're drawing and the house, making sure that you've got enough room for the top and bottom. Once you've got the big shapes sorted out, you'll find that you'll be more confident to put in that line straight away. Here is the base, this part of the house, that left-hand side of the house here. Again, this is quite complicated. We've got all kinds of stuff going on here. I'm going to simplify it down. A little bit of that section here, and there's a little spike or something on top of that building. In fact, this part of the house just comes down like this rectangular bit on top of the house. Coming across like glutes. Good. Now we've got all these elements down the bottom. We've got the fence, we've got bits of trees, you've got all kinds of things. I want to go to worry about that. Jesse and I just wanted to get in the main parts of the house. Here's the top part of this window like that. Below it. Separate that into like halfway point. In this other window, this top structure of this window starts here. Just looking at it as the shapes there is a kind of rectangular section of this window is somewhere here. Another section to the left and right as well. I'm just going to draw a smaller kind of rectangular shapes to the left and right. The frames of these windows as well. Simplifying it down, I'm really not going to draw the, how it is looking exactly. Simplify this so that I've got. Also like a four 4-bits in here. This is where probably going to get started on doing bits of the wishes and stuff like that here. We know that the goal or whatever finishes back in little pagoda. That's the main thing. I mean, you've got essentially most elements in large parts of this house and it's just breaking down the little bits and pieces now. So maybe it'll swap to another pin down a little bit. Let's put in some of these pieces. Fence kind of starts around here as well. But I want to put in some figures. Let's get in this gate way like these. Just bring that down. This little kind of little archway. Again, it's just a triangle, triangular shape at the top. There's a two little sticks that just come down, something like that. Get in the heart of this fence, this general height of the fence, because this is important because I want to put in some figures walking by the fencing here, I'm going to have an indication of how tall the figures need to be. Probably be told in this part of the fence. So I can just, for example, I can put in someone walking to the to the left foot, foot here, going towards the back. Maybe he's wearing a hat or something that's stretched out there. Here's another figure walking again towards that. Maybe, maybe you'll get maybe a couple of people just sit standing here talking about something. One person has got his hand up, that the other ones bag or something here. A couple of figures, another one walking towards the back section as well. Notice how I'm creating them to look a bit more. To basically match up with the size of this little little gate. Maybe this person is just sort of standing in this sort of direction. A lot of people walking past this house. Then just talking like that. Going on maybe going on in here. Good. And I want to put in some of these little these little shrubs and things. He's just a little indication of where they are. Remember the drawing doesn't always need to be too detailed as well, because when you go in with the watercolors, you can really flesh out a lot of the details. Again, this fence, certain with this fence as well that we're going to have to use some quash in here. I will still try to get in enough of the whites of the fence, I suppose. Areas. You've got shrubs and things interweaved. Not actually just fence running through the whole thing. Shrubs and things in here as well. This is gonna be going to work quite well with the figures in front. Create a negative shape. I'm also thinking I might get in some shadows just directly underneath areas like that. Chimney here. Chimney, chimney. These top bits as well don't want to do it. See, I can use another pin just to change things up, go to flat line up. In a small flat line, a pin can just draw it a bit of that top part of this triangular area of the house. There's a pretty interesting kind of pattern here, as you can see, it just kind of the semicircle, circular sections there. We can just, we can imply a bit of that. Just look at the shape, the semicircular areas like that. Connect them up in areas like that. Not going to overdo it. Just something like this. And I'll go over the top, this top part here. Little bit more detail at the top like that. These kind of gotten the bathroom that they like. These little wooden planks running across the building can apply some of these lines kind of like what we did for the last one. Take a pin, Doc and some of these windows a bit. They want them to stick out more areas anyway. This window here has many little sections. They're just composed of quiz. If you look at them, they're just little squares, crisscross pattern. You can go ahead and just kinda plots of the squares inside like this. Draw that crisscross pattern that forms a frame. And then you go over the top in each cell down here as well. Let's see a little bit of that White frame around it. It's you just coloring in suddenly dark areas inside the Windows. Something like that. This little shade as well. I'll just finish this bit offers us getting the wood around. Of course we call these shrubs and stuff as well. No need to really detailed too much around the bottom base of this building. These little robs and encroach into the building. Underneath is also a sign of these lines sort of running into the background. This just kinda shrubs and stuff as well. Good. Notice there are some of these kind of vertical lines running here, the vertical, then they start to fly out. So the rods a little bit. You can see create some structure for this area of the roof. Notice the same, almost the same type of effect here as well. So you can do vertical lines that just run through. Why some of these just free hand. Then they slowly start to the right a bit, little bit towards the right. It gives the house a little bit of dimensionality. Look more 3D. I'm going to do that would be more like this. Look, let's take a look. What else do we want to do? I think that looks okay for the time being. I want to put in perhaps a little indication of some of these trees and stuff into the distance. I wanted to leave a bit of it for the actual watercolors. By Ken indicates some of these trees may be coming across and cutting it into the house and stuff like that, that would be good. But really. We'll leave most of these detailing and stuff with the watercolors. As you can see, it's just, I'm just drawing a tree. You launch that a tree running up in the branches, getting in some of these darker details. So the branches as well. You might even think of putting one in here. Like it just needs some need to balance them out somehow. One here and one on the other side. Branch recently coming off like this. Let's get started. Hello, I'm gonna be using I reckon I'm going to start with the actual top of the house. The house. You can also start with sky, but I've just I'd feel like starting with the top of it, It's fine as well. But do this turquoise color, maybe some lavender actually, which is like a lilac color going through these. And one of the things is that you got to leave, you have to leave in some of the white bits of the house. So you see like the the bones that form the house, they're actually lighter. I wanted to leave that in. It takes a lot of self-control at times it was something I struggled with. There we go. Cut around. Oops. I didn't mean to cut around that area. That's still kind of the same Collins cooler color. Use cerulean mixed with a touch of red even to create something of this color. A bit of ultramarine and work well too, with a little bit of red and white mixed into it. Just a little bit of little bit of color in here. It's tricky at times to force your mind to think of, think of it in terms of shapes because we're just always seeing, I don't think we're meant to see shapes naturally. As artists. Generally, if you're someone that doesn't paint that you wouldn't normally would need that skill. It made more sense to see objects are what they are, but to train your mind to actually recognize them as other pieces. It takes time. It takes time to do that because I don't think it's not something that we've naturally had to adapt to. You. I'm just mixing in a bit of a little bit of white buff titanium. Would I drop in a little bit of it here on the side of the house. Not only that, but just a touch of it in here as well. I want to I want to get a bit of an off-white color. I feel that it's just a bit too much contrast. Dropping in a bit of that. **** close. We've got this window and I'll leave some whites in that window as well. Most beautiful things, I love them more colors as neatly into the mixing of colors and it's in pieces. Fence. I'm going to leave it. Let's pick up some green green here. I'm just going to drop that in to some of these trees while this area is wet. Because I wanted to kind of mix, mix a lot with the pagoda. This roof. 20 little bit of mixing and not just that over here on the right-hand side as well. If you go to Hansa, yellow, mix it in with a darker green and you can create just like lots of greens. Didn't need to buy. You may even need to buy green. You can just pick up, you can just pick up your primaries and mix them, split more yellow into your green mix. Look at that. Just a bit of scumbling and playing around in here. I'm gonna do this because before I go into the sky because I know if I don't do this now, it might dry. It might dry. I won't be able to get in some of these beautiful soft connections in here. Let's do that in here as well. Look around the edge of this house like here, this softness, softness, light green, light green, even a bit of white mixed in here. I think it doesn't matter. It's just a little light green connected on. Don't be afraid to let it touch onto the house like that. Touch the edges like that. Now, while the trees and stuff is still wet, especially some of these areas here. I'm gonna take the opportunity to put in some of the sky mix. Width, this area of the sky, some of it first, just wait a bit of it quickly. I'm going to pick up some cerulean, dropping some cerulean into the sky. We can get in nice little combinations like this. The amazing things that it blends with the greens and stuff. Greens. And I want to make that Scollon a bit larger as well, so that the House sticks out more. Otherwise, I want us to actually dark in the house. Cools, cool colors in the house. Okay, so just a quick scumbling. Just basically, scumbling is a way to say like you've just moving your brush around in an uncontrolled fashion. Basically saying you didn't know what you're doing, but you're just trying to color in this area uncontrolled manner and hoping that it may mix into something nice, which I believe it will. That the roof is still look at. The roof of this house is still quite dark compared to the sky. We still got a lot of work to do, a little bit of work to do, but we'll go in and just put in some of the greens for the down here as well. Put a yellow mixed in with the green, peas. Greens and you let the greens. Not a huge amount of complementaries. Really this color. The palette that I'm using at the moment is basically the colors fall very close together on the color spectrum. Greenish, blue, cerulean blue tends towards green. It looks a bit more harmonizing. Of course is a bit of yellow. Yellow, but it's, it's kind of like the off white in there. Put it in a bit of something in the ground. Coolness in the ground. This is just some this is just a bit of I don't know what it is. It's just a gray mixed on the palette. Just a bit of gray here until the ground. Let it all mixed together. But you want to keep this gray, pretty light. Light that we can get in some nice little shadows afterwards. It's a kind of a cooler gray. Come to think of it like that. What we can do now, these start adding in some more docs for the trees and things because what we've had is a favorite of dried areas in here, underneath the house. In here, I'm just dropping in a bit of darkness underneath this clump of trees. Comparable show wherever the top of it, it's gonna be illuminated slightly. But the bottom part of it, we're going to have kind of shadows and things costing here. Even behind this, this kind of white frame, It's quite dark. Few brushstrokes. If you can paint something with few brushstrokes as possible, I always think it just looks better with this kind of style that I'm using anyway. We're just dropping in the darks because without the docs makes sense. Lot ears, I'm not going to make sense. Layering over the top of these greens, creating extra contrast. I'm also bringing out the figures in the foreground, which would be good also to add in perhaps some color, some additional color. He's a bit of red. Red for this figure. Read a bit of orange maybe for this one. I'm a bit of blue, something for this one. Color. Just a touch of coloring here. Darker sort of figures in the left. Looking here, there's gonna be more darkness. This is turning into a painting. I want to really finish this one off quite quickly actually because I intended, I really only intended for this to be a quick exercise. I think it's actually worked out better because you can actually see through my entire process of what I'm doing, layering the docks into the lighter areas because I'm working quite quickly as well. You also find that you get a blending and mixing of colors in here. This is just a bit of green mixed in with neutral tint. Green with neutral tint. When you also want to do is make sure you leave in beats of the bits of the darker, lighter, green and get to while I'm cutting around the fence at the same time, I'm trying to make sure I'm not getting rid of all the beautiful lighter mixes in here that you can, that you must leave. Leave some of that darkness in there. It just mixing, letting go and allowing the watercolors to paint itself in terms of the wet and wet techniques, is something that took me probably the longest time to learn. Because it saves you a lot of time, but also it's exciting. I find it really exciting because we really don't know what's gonna happen sometimes. But what you can guarantee that you get a nice impression, nice little impression of the scene. Now I'm going to create more negative shape. Negative shape around this left side of the house. Some more dark green area. Here. Of course, near the figure I'm sharing cut around that figure a bit here, but just the edge of the house. You can see here I need to need to create a bit of more negative shape that bring the house out more. It'll be a lighter feeling on that left side of the house. The only way to do that is to just increase the darkness. Remember, I removed the leave in these lighter bits as well. This is what I mean when I say let the watercolor do the work because we could have drawn, good to grab that pinch my pen before. I could have just drawn all this stuff in. But if we draw and all that stuff in, we would not have been able to get in some of these incredible transitions that we're creating at the moment. Practice what I'm doing and intentionally trying to draw up your paint in shapes and areas with the least number of brushstrokes as possible. If you keep that in mind. You always have a fresh looking painting by the end of the day. Looking okay. Looking for the time being, I will give this a dry off. 9. House: Painting: Alright, let's get in some shadows on the house. I think we're missing some shadows that we can put in in its suck. So much absent and a lot of areas in the scene there, sorry, soft shadows. I'm going to pick up some neutral tint. I'm going to pick up bit of neutral tint here. Just mixing a bit of blue touch of blue in here. You're going to put in it a shadow underneath the top part of his house. Like that. Anywhere that you might notice, perhaps a bit of light coming downwards underneath, perhaps here this window might get a bit of shadow there. You might get a bit of shadow underneath here, here. Here. Perhaps. I like these windows either way those windows have done so I don't want to muck around with those too much, but get a bit here, perhaps just this little crease. Just a touch of darkness running through there. Trying to pick up a more bluish color actually because I've used the water green they had before. This shadow color is very light, mixed do it's not even 20% of paint, 20% paint in there. Notice they're little shadows as well, like united to the side of that one underneath top part of the window. Let's get some purple and some purple. The darker you make the shadow more contrast. Obviously, just look a bit more contrasting with the colors. Lots of colors. Accidentally picked up a bit of gouache, I think on there. So it's kind of going a bit in the milky little bit of darkness under here as well. Darken the shadow a bit to the left. Bit more darkness and diverse parts as well. Darkness and I've forgotten this old chimney in the background. In putting in a bit of purple there to dial it down. Soften off like a shadow here, the base like a softer sort of sit and runs perhaps the shadow, we can get the shadow running towards the right a little bit like this. The shutter. Just thinking of it's now getting a bit of this shadowed running towards the right-hand side of the building. Something I thought of. To make it more sharp, obvious. That let me just soften a bit of that down there. Good thing that works. I'm going to just drop in a bit of darkness underneath the rooftop of this building as well. Really need to put in some final dark bits in here that will create lot of contrast in some areas. So you'll notice what I'm doing here is I'm going almost using pure neutral tint, using the side of the brush. Getting some of this darkness and KIA, especially near the figures. But I'm also trying to just make sure I leave me in this impression of these trees and things in which you may call it shrubs and stuff. Bottled dark bits. On the shoulders of this figure. I don't know how I've managed to preserve a favorite of white on these figures, which will really come in handy. These windows. I might have to go over some of them. They me a little bit because I feel like they should be darker in some areas but not putting shadows underneath these figures and just bring out the legs a little bit as well. Going. Legs and fingers, I'm going to make them quite dark so that they stick out a bit more. There's a couple of legs with that figure. These ones here, these two here. Just a bit of darkness. I can just change up the legs of this one now so that they standing more straight on this one as well. Sometimes if you don't get the drawing and so well, what do you want to change up the drawing? You can, of course do that. That's what I'm trying to do here. Change up the figure's a little bit shadow running towards that right side. Touch shadow like this. British shutter running there? Yeah. Something like that. Footpath, of course. A much Gretchen kind of indication of where the footpath might end. Somewhere here. Broken line. It doesn't look too out of place. Sometimes you can put in some little respective lines as well, mixed little, little bits of lines that run across in the same direction as the pitch of the roof top. Become more and more wider. Angle there as long as becomes wider as you move towards the right-hand side. It, as you move more towards the center of the lines start to get more vertical. Something like that. I want to put it in a bit of like something just a bit of this. This is a touch of thoroughly in blue with some white gouache. Can put that in for some of these ones. Not only that, you can pick out some of the colors, I might go for this and maybe a bit of yellow or something, just, oops, Where is it? Yellow. The yellow and gouache. Draw it out in a booth. The detail for this figure works better if you let it let the paint dry. So in here you can see it's kind of a sharper looking shape for the figure. Let's put in a bit of red. Because I always like to, just to help to control them out. Maybe quick little Russians. Let me draw in a few little bits going through the sky. This It's interesting how long it took me to look at the shapes. I find it more like most challenging with figure. The figure is actually detailed figure drawing. These are just little birds. As you can see. You can keep on going really. I mean, it's up to you how much detail you want to put in here. I'm going to draw it off and get some final highlights. Or the k. As usual, I'm going to just pick up a little bit of gouache and go away. But the shoulders, shoulders of the figures imply just a bit of lights on the head. So maybe here kind of thing. These ones you in the dark, come out better. You can also go into the house and think to yourself, Hey, there's a bit of something I want to put in there. The fence. If you want to bring back some details of the fence like this, you can go ahead and have a bit of a play around. So this is why I say, it's sometimes better to do it in the Gouache off. Rather than spindle. You're tall, I'm trying to cut around things. It's just saves time. And it looks pretty much the same. Even in the house. You'll notice that these little white even frames of things and that is you can bring back some of it. Some bits and pieces. Also like to perhaps getting a bit of creamy white color for some of the trees. And you might want to getting some highlighted branches and stuff like this because there's all this darkness in here. So let's put in some little lines of branches and stuff that just run through this little bit of branch or whatever you can do it here. Big tip is like sort of look back at your painting, step back and have a look at it. I'm probably going to work on this a bit more later on. In fact, just this finding, this harmony between light and dark. Here, connecting shapes, changing the branches, some of these branches as well, I think they kind of looking a bit more green. Could be just maybe it's a shrub or something like that. You can just drop in a bit of that. Don't want to overdo it though. That's about it. I think we have a covered so far. What we've talked about, how I compose a scene, how I stood, have changed things around, simplifying shapes from a large, large house with all these detail and with all these shrubs and things, how to make this, it's something simple and you could go around, go outside. You don't even need to travel very far. You can see it outside your house and do something. Let me OVO in house so you could go to somewhere in the country if you follow this step, this sort of approaches that I've told you and make sure that you simplify the shapes, getting clear sense of light and dark in here, clear sense of contrast. You can sketch in a beautiful little house like this. Many different circumstances. So I think what else do we go on and what else did I talk about? We talked a lot about g's, just thinking. Just decisions that I've made along the way. To reduce down the detail of these areas, to put in figures, to tell you a story. Changed the shadow, made the shadow pattern come to the right a bit more because I wanted to create a logic contrast between the light and the dark side of the house here to make it seem like maybe the lights just really hidden that side of the house and that shadow here, this is kind of smoke. You're looking gray shadow. It really helps that heel on the ground as well. Sort of going around and I bring my camera with me when I'm traveling and it'll snap pictures of houses and buildings are really like. And sometimes you get these beautiful Victorian era houses in Melbourne. And you can just tell them, built with so much thought and so much thought put into the structures of them and they look quite beautiful. I love, I love drawing them and they're also very challenging, as you can see, compared to a normal house. If you look at a normal house on the street, they tend to be a little bit more stock standard. Whereas this really challenging yourself with all these shapes. 10. Townhouses: Drawing: Elon wash is an excellent way to improve your watercolors. You're painting skills. I find that a lot of people don't practice drawing enough. Get you drawing down packed and your process, your composition, what I've been talking about essentially the whole time. You're going to be able to come up with a beautiful painting. Final project guys, let me get that. Reference picture up on the screen, make it fullscreen. Got a few different screens now that make it easier. This is an interesting one. We've got these three houses and they they are when a slope. An interesting little scene, isn't it? I'm thinking whether I want to put a car and I'm trying to I'm trying to think how I'll do that as well. Would be popped in a slope or something. Visa. She's already drawn us up. I'll go through it anyway. But you very well prepared even if you want to do a smallest sketch one and try to do a different view of the composition. That's going to work well too, which is just extra practice for you. I'm gonna go in with the 0.5 and China as I always tend to go with the initial I'm drawing someone had a 0.3 as well. 0.3 only because my 0.5 is getting a bit blunt. I don't know when you use a pen for awhile, the tips just tend to disappear because they're pushing into the barrel because I've just warn them out. But already Let's get cracking. I am going to start with we want a question is, do we want a border? Do you want to Bordeaux? Do we not want to forget about the border? I'm not going to put the bullet and I'm just going to paint to the edges. So the good thing is that we've got this little bit of air in the foreground. You know that it kind of goes up, load up like this hill. I want to increase that to here. This is a quarter of the page where it finishes. See where the footpath finishes and with a broad stats, we look at the reference photo. Where's that point? If you locate the middle part of the reference picture that's right off the bat here. So it's about a quarter of the way. That's how I figured out pupil take important knee and make this straight. Kind of straightened away like this. I'm just trying to do stuff freehand as well, guys, because if you use a ruler for everything, you can struggle when it comes to actually doing this. When you don't have a ruler. You can use a ruler to, if that helps to innovate, it's just a tool. But freehand drawing when you don't have the tools available on hand. Beat this sort of practice. Three houses, three houses, and then neatly divided. We've got one right in the middle here, and we've got to the opposite sides. What are we going to do? How are we going to make this simple? Well, there's just three boxes if we look at them, the three boxes with all kinds of stuff in them. But they essentially boxes. I recognized. We'll start with this one in the middle. I think I'll start with this one in the middle. We extend this out a little bit. This footpath, touch these in that footpath out. It's kind of complicated footpath, there's all kinds of stuff that has trees and things will get into that later. But we want to separate the page into three sections, okay. With a bit of so if we put a line here in Lung, he wouldn't leave with a space on the edges. But we can start to put in kind of like where we want the buildings to be. So that one maybe like one here. 123. Let's put in some basics. I'm gonna go in and just start. This is just a boy, just look at it as a square. And we want to leave in a bit of sky as well. So if we actually look at where the buildings almost finish off, here, random bad here. The quarter away from the top. Take. With that in mind, putting this rectangular shape like this. Now that it comes down here, we leave a bit of space. There we go. Rectangle. Easy. If you can draw a rectangle. These bits of the Stott, you really got to focus on getting accurately. Top of the roof. Comes like this. That kind of slips a bit upwards. They exhibit of this white section here. Data and then it just goes up into this top section like that. Noticing the top section lines up roughly with that little one-quarter mark, I made the roof. The roof. Maggie, if you're using a ruler, don't worry. Don't worry, Look God, use whatever tools you got. I'm just saying sometimes if you add and you maybe you forget that rule up. Good if you know how to do a little bit freehand, freehand versus using a ruler. So you end up with a different style. You get a looser style. Rather than focusing on accuracy of focusing on just the essence of what you got going on this or good or good. There are people who traced as well. I've traced on many occasions. It's just sometimes whatever whenever. There's no there's no hard and sit and rules with no one's going to turn up at your house and say, Hey, you've traced the painting, you know, it's, it's not against the Lord, so it's just a tool that you have. In fact, a lot of, a lot of painters, a lot of professional, that pain is still there work. They actually trace a lot of them. The majority of them, I would say they trace. They use projectors or something. It was something surprising that I've found out. After knowing some of these, some of these honest saves time and it allows them to get into a much more accurate drawing. When you have commercial artist of some sort, anything that can save you time. Ness it. Anyway. We're doing this middle one and look at that. There's a squared is a square within a square on top like that. I'm just drawing that in this obviously even conscious that I was drawing. It's funny. And this is a little technique as well, catching. We're using lines that run in the same direction. You can see I've just hatched a bit there that creates a slight amount of darkness. There is a little bit of darkness here as well, so I'll just hatch in there. Quick little thing like that. Yeah. Something going up into the Scott and know what that is. It's part of the building. It doesn't matter that we can have a look now at this part of the building. There's actually a sort of goes up like that edge of the ability. Good. And they'll just bring that across horizontal line using a thinner liner as well. And when you use a thinner line and you can get generally speaking, a little more detailed. I tend to go with thicker line is because I work, I generally work quite fast. I like to get in a quick impression, but this one I think I hadn't feeling it wind up turning out to be more detailed because I'm using a thinner liner. One of the side effects, weirdly enough. Something here, I don't know what this is, like the garage or something. We got section here and you shouldn't drawer it might just a horizontal line running like this. And then some stairs of the building that come down. But I'm interested all the horizontal line finishes, little horizontal line. I'm going to try to place there's a bushy or something scratching, something like that. There was something here as well. And there's a garage here. Kinda comes out a bit more to the left. A few, like you have to follow the reference exactly as well. If you think that this looks a bit too much, I'm going to bring the garage and change it around. Like garage, just part of this kind of cooler color of this building that look at the flow is from where the stands out is three flows. We can separate this out to 3123. Let's try that. Roughly 123. What we're going to start maybe up here, I can put it in Windows one. Oops, too much. That's okay. Three, roughly where you think the windows are. And don't worry about getting them in exactly as well just quickly to estimate. 123. Just draw three little rectangles like that. We've separated again, separate into three flows 123 with three windows, space them evenly apart. And you want to make the windows below, directly below the ones on the top. Because generally that's how buildings is structured. They have repeating structures in them like this, 12, like this. And notice I'm going a lot slower as well. If you go slower, generally, the more detailed and more planned out your work will look. Just URM. Your preference. Do this. It's kind of like a rail or something here. P has to be some kind of railing. Edge of the house. Comes all the way across here. Connect this up a bit more closely. Here we go. There's another window here. Of course, we then have this part of the doorway like this here, here coming down like that. It's kinda like a triangular shaped at the top and then it comes down, moves downwards until this rectangular shape like this, with another rectangular doorway shape on the inside of the building. Like that. You've got the steps, which I will indicate with just a series of horizontal lines. As you can see, a series of these horizontal lines go all the way to the footpath and kinda like stop there. She goes some handrails and things like that in there as well. There's even a This is cool. It's a little plant. I didn't see that before. I kind of overlap actually with the other building to the right. Put that in something like that. This is tree here. Comes up and not go bush in the front of this house as well. The interaction between nature and nature and man-made objects often looks good. I'm trying to say good. It's getting a bit more darkness behind there. So the light is coming directly from above. What's coming directly from above? Let's go ahead, Let's get into the kind of frames of these windows. I will just quickly draw these in. This is a very thin Lorna that I'm using. Somebody's window is a very elaborate. Jesus. How much going on in elaborate that simplify them down? I mean, this is a kind of like a balcony. These three windows, you have balconies on them. Just draw us in, is running across like that. These little vertical lines running to indicate the railing there inside the Windows, this is where you got a lot of choice. You don't have to copy that window Exactly. You can simplify them down. I think I'm going to do that because it's just so much in the some kind of simplification would actually work best. So for example, might have something like that, just a line going across, going down like this. And I may just Mullerian or hatch away at some of these areas like that. Let's get into another one here. Just that kind of like a basic frame with four sections like that. Keep it consistent. Notice this is the etching technique I'm using again, drawing the lines in one direction close to each other. It creates a feeling of darkness in this, in this scene. Again, if you want to elaborate more and putting more details, by all means, go ahead and do that. But I'm I think from my, my one, I'm just going to do simplified little windows like this way. Still we are using the same pen. I've not changed pins this entire time. When I always swap around using different pens and stuff like that, just remember all of the time it's not even really necessary. It's just because I have them available one at a time. You have to exercise self-control and not using everything. It's like why I told you guys to stick with a small number of paints. Because actually, when you have too much, it becomes a hindrance. Like anything too much of anything can be, can become a hindrance to you. Simplification allows you natural kind of balance. Trying to keep simple. Little brushes. Paints. Middle one is done. Of course, this might be the point where I stopped thinking of putting in a figure here. Is someone maybe just walking on the footpath going up this hill. I feel sorry for this person because they're gonna be they're gonna be very tied once they get to the top. Maybe we have someone coming down here. And then just putting this strategically in here because I've got a doc, a tree here. If I have a darker tree and I have a figure walking in front of that tree. Wherever a doc a tree, the figure is going to look a bit more. What you call it. More sunlit. Create more contrast. One going down, going up. Do I want a car in here? This is the point where I might bring up an external reference photo. Look up a reference photo and say, Hey, perhaps I can find a photograph of a car. I can try to put that in. Let me just see if I can find one. You can search it up. River Google, whatever you can just type in on the Hill or something. That takes out the guesswork. Of course I can just draw. But this will make it a lot easier for me. Let's have a look. What kind of car do you want to pop up here? Just having a look around us and cause Rocco something maybe a maybe a suburban truck might look a bit out of place. I'm going to attempt this one guys. Just try. Top of the car. Bottom part of the car. Sorry, the back-end of the windscreen or whatever. That what I'm trying to do is get the cauda follow this slope of the hill, following that slope of the hill like that. That way. Going to look like it's going up the hill. Maybe maybe pot, maybe pocket or may be driving by something like this. Smallest sort of a bumper in like that, put in some of the windows. I think the important thing is to follow this slope of the road. You can see it's kind of going up, going up that way, right? I think this needs to be outlined a bit more at the back. They're kind of thing let me go. We've got it we've got a car in their car. They're parked on the side of the road. Do you want to put in another one? You can always put in another one down here as well. And let's just simplify this down. We have one here and screen something like this. The back-end, the two wheels here. Like a small car, perhaps. Another car here. Louise and I thought actually The power is just a box shaped. Box shaped by, again, the same techniques I'm using to draw in the buildings and also using to drawing these costs. Simplification. Going to be loose shadow underneath the car as well like this. We'll draw that in later. They didn't later. I mean, but I just want to misstep that shadow. Shadow a bit. Perhaps the shadow may run a bit towards the back as well. Yep. I like to like getting the shadows that come in at a slight angle. That's a moment, the sun's coming directly overhead. If I make the shadow is going slightly. Wang Guo, I tend to find it. It looks more interesting. It's something to consider for later. We've got this housing now. There's a few I don't know what this is. It's like a chimney or something here. I can just put in a bit of that, that When a bit of a chimney structure, another one coming up here. Careful with these structures as well. If you make them too obvious, they look at a place, draw the mean but with loose edge, loose lines and things like that. I didn't want to make it two. Good. Let's start with this one on the right. Jesus is a tricky one, a, the one on the right. Course, we've got a tree here. Let's have a look at all the trees. We got one in the corner. Let's start by simplification. It's just a rectangle just like that one. Simplification. And just draw that across the top of that kind of triangular shape that just runs towards the top like that. I'm just going to draw a bit of that triangular shape and then pellet out the way from it. We're going to actually try to get in some more of the details of what's in this building. It's drill this down, but it's just a rectangle, just a rectangular really that you've got a bit of it that sort of goes off into the to the background there as well side of the building as you can see. A bit of this 3D look to it. Extend this out a bit more and bring this down. We've got this kind of age. I'm going to bring this, this side of the building down here. Because we're going to have this back part here of the building, which is quite a dark area at the back. Let's see what do we have here? We've got this triangle. Bits are popped in that triangle. And I made an error here. I made it a little bit more to the left. The only thing you do is just draw over the top of it that turn it into something else. You can't really tell. One. Here on the right-hand side, you've got this structure. We've drawn one of these before. It's like a triangle there, another triangle coming down here. The base is like a kind of rectangular section like that. So often you see repeating structures in these buildings. You realize I had drawn something like that before. You just pull that, pull that out of your bag of tricks. You use that. If you start to internalize drawing of the structures, funny enough becomes a lot easier of a time. Chimney here on the right-hand side and join the chimney. Chimney. That very difficult at times to see improvement in to look back at your work year ago was so when you realize how far you've come, little bit of hatching here on the roof, this darkness on that roof top here as well. A bit of darkness on the rooftop. Interesting. Is it semicircle here? So kind of like semicircular shape. What, what an interesting building. I mean, they don't make them like this anymore, do they? Talking to some friends? Yes. Then looking at building a house and you look at all the stuff that they have known, that's just off the plants stuff. They all look the same. When I see how's it like this, I get really excited. Drawn to the challenge of trying to draw it. It would have been at that and looking at the triangle rectangle and inside there's a rectangle. And that rectangle is cut in half and there's like a circular thing running around the rectangle. Okay? It's all just shapes. Just shapes. Us. That's true. V is. They probably probably would save a lot of money booting the stuff they do now rather than trying to recreate this, I mean, knowing how long they take to construct stuff over here in Australia as well. I mean, I didn't I didn't think this would be ready until ten years. Still be waiting. Let's separate this booting into half. This led to two section of it. This is a section on the left that kind of comes forward and this section on the back that goes back a little bit. If I drew a little imaginary line here. And actually this section on the right is a little bit smaller, Something like that. This is going to help simplify. I'm going to put in this window before, actually before we put in this window, I can put it in, but we want to also look at the floors of this building as well. So I'm going to separate into three. So 123, maybe like 123. The garage is kind of like here at the base. These these people have the hand brakes on the car. Otherwise it's going to roll back and hit this poor fellow. Pocket cut. If you've got a nice garage. Maybe it's a visitor that this stuff coming down the side of the house. Most vines didn't know what you call them, but the type of plants that grew up buildings. There we go. Just a bit of a vertical edge for this part of the building, the base. But again, we've separated them out into 3123. The bottom section we're doing the garage. The middle section, we've got this. I don't know what that is, but I'm trying to just do the simple bits first. If I do this simple bits first, that the more complicated bits will come after the symbol bits underneath to think too much when I'm drawing the mean because they look at this dog window up here, it's just a, just a rectangle. Rectangle with a line across like that. Let's hatch little bit of hatching there and attach here as well. I'm going to dock and some of that light emoji, but I'll just put it in this to start off with a bit of this frame, that White frame, maybe this window Here, we go through. We draw this window. That window is actually directly below this top one. Easy. Except there's all these plants. The way should've going on top of the building and stuff like that. So some people like working, doing the hardest stuff burst. I always liked doing the easy stuff first. Maybe I'm lazy, I don't know. But I I find that if you get the easy stuff at the way, the hottest stuff isn't actually, you realize the hottest stock isn't actually as hot. Because the little lines and little things that we're doing here with these two windows. They actually allow you to be more precise and where you put them more complicated bits and pieces. It's kind of forms context to what you're doing here. But if you try to draw the more complicated things in first, I think for me I've got to think more. I know, for example, that window here is right there. Then I know I've got some kind of special window here. As squared is a square should have been in this rounded edge up the top there. This window then separates out. I think it's a window. Has to be window. It's, Geez, look at that. Look at the complexity in that. I'm gonna simplify down and just put some vertical lines that the lines actually not know what kind of pattern that is, but they areas, it's quite beautiful actually. 11. Townhouses: Paint The Light: If I was reading an article on Venice, in Venice they have, in Bruno Marano, they have a very strong glass blowing tradition over there. And because of the new shortages and stuff like that, a lot of these producers have had to turn off that bonuses because you have to, apparently with the furnaces, you conscious turn them off. You have to keep them you have to keep them running at that temperature. Otherwise they break. Just due to the contraction and expansion of the the kiln. I was in Marano, not know Miranda like an era of Venice. Few years back. I was traveling through, never been here before. That was my first time and that actually just seemed the houses and the cute little architectures and little boats and stuff. I think that really got me going, really got me going in line and wash. Funny enough. And you find a load of inspiration. You don't have to go all the way out there to get that. You can go nearby where you live. You can go take a train out somewhere a little bit further. Find things and buildings and situations that are a little bit different. There's always something that you can draw inspiration from. But that's how I got started a little bit more in terms of my just doing these little drawings, trying to getting a bit of impression of what I saw and what I remembered when I was in holidays and trying to get to him. Which 01:00 AM I trying to say? Basically create a memory, lasting memory of that. Let me draw stuff I find that you internalize it. Me anyways, as oddest, we Naturally can be quite visual, people, imaginative, and we're relating a story or something that we've seen, a location, a place that we've been creating weight of artwork on that. It reinforces that memory. Makes it just that little bit more special. And when you look back at it, it looks like this so much in there. But look how I've started off. I started off with simple shapes, rectangles, and then I look inside those rectangles and think there's more rectangles. There's more triangles or whatever you're doing little micro measurements. Is the slope, the right slope. If I made that slope go up here, that'd be too much. We've made it flat. It wouldn't have this interesting kind of feel that you get with this one. Observation. It takes Thomas No, no magical thing. There's no magical way to really learn this. But once I've found, once I sort of figured out a process and that's what I'm trying to teach you guys. Once I figured out a process tool, this I didn't feel this as lost, knew what I was what I was aiming. It speaks a little bit of darkness in there. This is interesting. It's kind of like this, isn't it? And you've just got soon running it up here. I'm not going to do a whole lot for that. Can be really relaxing. I'm going to do you find a way? Enjoy this. When I say enjoy it, I mean, take you, take your time doing concerned about the final outcome. To enjoy the journey. We enjoy the journey. You often a relaxed state, kind of happy, sort of. I didn't attack you Surat, where? I'm just like really thinking in the moment. And that's when I think as an artist, we can concentrate the most when we have too many thoughts going on in our heads. Too many worries of just looked at me and I didn't know about this is where this looks the way. It's meant to look this net when you start worrying too much, has the, has the effect of making your drawings and paintings and a little less confident. At times. It takes time to just learn to enjoy the journey. Each line that you put down adds up to the final picture. It's kind of like a shrub here and there's a big tree here. Some kind of tree comes across the building, like something like that. Building. Often in the corner edge like that somewhere. Just imagine something like that. Create Engineering Building there. Too much ink into the ground or something like that. Bit of shrubs. Here. Certainly is some kind of house or a structure. Maybe like a little something hidden behind there. But laugh me that I've just taught, see exactly what it is. But that's okay because I think I wanted more focused on the three buildings. So this one's pretty much pretty much done, gone through and we've drawn a fair bit of it in already. Let's get in this last one, we've got the easy one left. Say easy because compared to the other two because it's just a box. The big box now drawing in the little shops first, second kind of squarish. We call us on a strawberry. That people kind of trim with which to hedge or something. The trim it to different shapes. Reminds me of differences. Hands with the it puts his hands where they all go through the little suburban town and all the tribes would just trim to animals and like a dinosaur and that kind of thing. There we go, scramble around. And this is another way to draw trees. Just kind of do these weird circular motions. Semicircular motion is like this. You can get in the border because I actually normally draw trees with these hot edge borders, but you can do it this way as well. Up to you. Here's another one. Softer edged. You can actually get into a bit more detail this way. Just tend to go sometimes with the option of drawing something like this. This running through a lot of this building is actually covered. These trees and stuff. Let's go in and getting the rooftop. Now, this one kind of runs the building, kind of just runs off like this this side of the building. What I mean is the top of the building is just a little bit higher. It's almost the same height as this where the roofs dots on the middle one can see using other structures to guide where the relative location of the thing or the structure you are drawing is. Always on the ball. You're close enough. It looked fine. This is actually a little bit higher than that map. It's just a rectangle. Square two cube, really like a Rubik's cube. This coming down. Not going to get that to just intersect with the tree here. Just notice that kinda just draw my lines in a jaggedy style as well. Stylistic thing, you don't have to do that. I don't know how I ended up doing that. But it's just a stylistic thing. Now there's a bunch of things. He is like a garage, just like a white garage. Just draw the box so I can channel box some stairs here. I'm not going to bother Oh, maybe I will. Let me have a look. Now. I believe that I'm just going to get that in. We have this tree here. This tree, the top of the tree kind of aligns with the second floor of the buildings here. At roughly here is where this little white bridal of that building is in there. Which then we have a bunch of these windows. Now these windows, interestingly, this looks like maybe a modern building actually change the windows or something like that. But you've got this one. We can now separate this one into two degrees of separation. Please. Bring that across to carry that off. We go. Any of these areas in here are gonna be dark as well once we get in some watercolors. It's like a long way away, but I'm taking a little bit more time so I can hopefully explain this to you. Attempt to do a bit more of a detailed drawing than I usually do. Putting the windows is the first one. Here's the second window. Here's the third window. Putting the tops of these frames first, we've got five windows up the top. Let's go 12345, something like that. I kinda like that these windows are not symmetrical and there, they look a bit different because they contrast against that building, actually. Buildings, especially this middle one. It's funny how a sense of asymmetry at times with buildings and structures balances it. So it's quite ironic. If you have too much structure and too much repetitive pattern. It looks artificial. Looks unnatural. Convictional asymmetry is present in most things in nature. Maybe we try to replicate that with Al buildings and structures as well. Let me go and windows that's put in these three here. 12. Not the same, exactly the same as the reference, but movies like that. Let me go. I tend to get a bit to get a bit lazy when it comes to the end of my drawing, especially with stuff like this, I sometimes make the mistake of speeding things up too much. Something to keep in mind. As of course, we get fatigue. As artists, we get fatigued. Leave it or not. And the creative juices that stop flowing sometimes. That means just take a break. If you can. You can push through these windows. Good. I'm going to just stop hatching again. Hatch hatch headship away like this. Notice the docs in this drawing that I've done a lot more subtle. And the doc say in the last scene that I did because I'm catching, although it creates darkness, areas of dark values. Also. Not too dark, essentially still not a huge amount of contrast and they're really good if you have not sunny day outside. Find a place to sit with some nice buildings or nice little scene, could be a pond or something nearby and just draw a big sort of movement of urban sketching. They call it urban sketching, line and wash. Think it was known as live in wash before, but urban sketching is kind of what we're doing here. Drawing buildings and people like a scene in front of us, like thing. You learn so much from these little drawings and sketches. If you can bring your sketchbook along with you. Wherever you go. If you feel like it, grab it out, if you bag that sketching something. I used to be a bit split self-conscious when I was sketching in public, people would come by and they'd look at what I'm doing. Sometimes it wouldn't be any good. You get nervous initially. You can actually learn a lot faster. When you're doing urban sketching. Things change. You have to work quickly because the weather changes. Light sources change. Sometimes. Sun goes beyond the Cloud and then you have to figure out who was that shadow or maybe there's no shadows and you've got to make up shadows. A lot of thinking involved in that. I think people don't realize that they will non-artists, them realize that just sort of just grab the paintbrush out and then that's our hour or so later we have an amazing painting. But it's like a lot of work that goes into, a lot of thought that goes into it. Some people make it look easy. It's really not. When you get more experienced in terms of learning, process and planning a painting, composing some things would just stick out to you. Just knowing that putting that car there, that building looks all we need to shift that building here and there. You just know certain things. Won't work as well as other things. They asked him patents like using odd usually with figures or stuff like that. I like using odd number of figures, spacing of the figures as well. I don't want to clump them altogether. I want to make some that are his three, but I might perhaps put one here, let me, just behind his car. That link coming out does a bit of variation. I'm looking to clump three figures here in the middle and then put a car to the left and right of those figures, it would just create imbalance. It would focus all the attention into this area unless that's what you wanted to do. Maybe they just did there in the meeting up or something like that. But things you learn that you just don't do because after a while, after a while, you figure it just doesn't look as natural, doesn't look as good at it this way. So there's no hard and fast rules that you sit and rules or wherever it's. Sometimes you've got to get surprised as well. Some things, some people, artists make things work. Traditionally may not work. That's why it's good to experiment. This is coming from the top-left. Think I'm going to get the shadows to go a little bit more. I'm just thinking because the slope of these buildings are running or the flip of landscapes running to the left. I make the shadow is run to the right. This is another thing. Make the shadows around to the right. Well, that balance out this slope which has slipped down and then we'll have a bit of shadow running to the right. I'm saying with this one, should I have it all following the same one direction? I might just do the opposite just to see what it looks like. Long as they're consistent, I think it should be fine, but it's something I didn't consider as well. We are pretty much say we're pretty much done with the drawing. Of course, I could spend a lot more time adding in bits and pieces in here. But I think this is okay. Let's get, let's get going with the painting. I'm going to stop in the palette closer first. Here's the drawing. Very light mix. All. I'm gonna pick up a bit of this. Took voice, really light. I'm talking about maybe 10% paint. Cut around the frames of the windows. You see these white frames just cut around them. Frames painting the light areas first coming down. And the reason we want to keep it so light is because I want to preserve this feeling of light on the buildings. And so if I create, if I can make this a lot lighter, I think that will help them. But also what I'd like to do is drop in some other paints, some inconsistencies and things because it just looks a bit it looks a little bit to future perfect. You know what I mean? So I'll pick up the beauty of these neutral tint or whatever and look at that. I'm just pulling it through a bit. Mix a bit. Funny enough. It blank. It looks better that way more natural. Just to pick up a bit of darkness. Use, well, let's have a look. Neutral tint or we can mix up just a bit of grayish color here on the side. And I'm just going to create an edge here for the rooftop. This is DACA. But I just went documented, touch, gone up a bit too high, so soften that off and just go into the roof with a bit more gray here that moved to leave whites in there. You're going to leave some white. And we're not putting any of the shadow is really at this moment, we're going to wait until later. Good. I think that looks pretty, pretty overwrite. A bit of brown or something in here, maybe a bit for the depths, like a warmer color for the steps like that. Let's check out the other buildings. Js, we've got to know what color that is. It's kind of like sort of call on that. Maybe I'll put a bit of brown in here. It doesn't mean that you have to do exactly what the reference exactly in terms of even the color scheme, you can change it up. This is just a bit of brown. I thought, I'd thought I'd introduce some of these are not brown. I'm at the base. I'm going to mix up a bit of gray and just drop that gray color in around the car a bit. Why not? Just some gray in here and this kind of structure in there as well. Want to put in a touch of blue, cerulean blue just a very lot mixing cerulean blue in for some of these windows. Not really there, but just want to try that. Sometimes I find that it just helps to create these sort of impression of reflection from the, the sky, that kind of thing. A lot of these buildings though a quiet receive, these ones that just windows are pretty darn good. Let's have a look at the huge. It's a bit of darkness in the back section. This is actually going to be quite dark in here. Something like that. Just some documents MAC layer, but don't ever do it. This stage is just to remove parts of the white of the paper so that it doesn't look stock. If coolness for these chimneys, I forgotten to add the mean actually. Never too late, just drop that in. Just that same turquoise color. Building. Again, costs. It's kind of thinking what color I can use for it. I'm going to go warmer again, maybe a bit of rusty color, a bit of burnt orange, bit of quinacridone, burnt orange with some brand. I don't want it to be too vibrant, but I wanted to maybe just a bit of a warmth running through it and maybe I'll drop in a bit of this color as well, which is burnt sienna. And remember to leave some of the whites for the frames like this. See just these little window frames, the separations between the floors of the buildings as well. The back area of the booting. It's kinda like doctor in here as well. So I'm going to just drop in some paint there. This building here to the left. I'm going to go back to cool colors, maybe like a lilac color like that. Blend this altogether nicely. I'm gonna paint to the edges. Just paint the edges a little bit of green for these trees. While we can just drop some of this bit of green with a bit of yellow, hansa yellow. I'm just going to visit that in these areas. And if it mixes, That's a good thing. I wanted to mix more than brown and drop that in there. For this building here in the back, I want to just turn this all into trees. There is a kind of what do you call it a thank you garage. Leave some white to indicate that difficult to get into this part of the building, which is also kind of quasi sort of color. Let's put that in this quasi color. And only time will tell if the building to light. But I think, I think it's gonna be okay. I really want to indicate a strong sense of light here. Often it looks, things look too weak in the beginning, but when you get into dark colors, it all makes better sense. Kind of be patient and call it later. I mean, if it's if it's too light, I can always darken it again. But if I go to doc, it's light it again. Experiment and around like that. Wrong really. Be more of this yellow here. Click that yellow and they're actually going a bit overboard with these drugs and stuff. But Meta, I'm going to go into the base now and I'm going to pick up gray color, just neutral tint, light gray, neutral tint. And let's just do this. Keep it very light. Around the car. Join this wash that we had. Up here. We see the trees and stuff like that. Drawing that on this wash, bring it down and cut around the figures. The cause that kind of thing. If the green mixes a bit with it, don't worry. You've got an predominantly grain here because actually the green is traveling through it as I speak and get it traveled down, making them feel a bit of the green mixed in there. I think that's actually a positive thing. What I like to do as well near the full grand, I might add a little bit, marginally, just a little bit more darkness in here. Little bit more. It creates a kind of gradation. Light to dark helps with the sense of perspective in depth. Just feather in a bit of darkness in the base here. Can you see little bit of darkness in here so subtle. Have a significant impact in my opinion. Just keeps moving, feathering downwards. I don't want to go up too high because I want to preserve that sense of lights up further. Going to leave that off more, fiddle around with it, the more I worry that I'm going to overdo it. Let's go ahead and do some of these houses. I'm gonna be using two smaller round brushes. Brushes, brushes, cerulean blue and a bit of ultramarine. With a bit of ultramarine and cerulean. I'm going to cut around these houses. Some reason this cerulean that I have a dries so quickly. So quickly and I didn't have time to cut around so well. But do it in the sky. If we look at the sky and the reference photo, it's actually daka. Daka then the houses very carefully. It's a good couple of shapes. This again is going to increase the sense of the sense of light on the buildings. Cut around the roof. Tops, tops, cloud around the buildings like the most tricky big because you really go too small. Let that blend in. Remember this is also going to draw a lots of the C kinda like having to estimate, making it a bit darker than what you want it to be. So then it will dry, lighter. Otherwise it will dry too light and you don't want it to draw the same value as these houses because then the houses are not going to stick out of the sky. I think that looks quite a k mole like this. And as I get to the top, I'm going to drop in a little more ultramarine, just a touch more ultramarine, maybe the purple one, I'll just put it in a little tiny bit of purple in there that across. Let me go put a nice guy mix. It's just one just one color at the top of its top of it, some more darkness in it. Kinda like the base, the bottom, as you can see. Neutral tint. Maybe we'll do the trick. And this might be a point where you think you want, you want some clouds or something in here. Composition wise, you can do what you'd like. Just putting some in here. Just feel like putting something there, but should create a beautiful stuff going on up here. Paint for some reason leaves these weird little bubbles. Little bubbles, but do be do you remember it's still daytime so we don't want to make it too dark at the top. I think there's Matias turned out fairly well. Work a bit on the trees and the overall structure of the figures, bit of coloring for the figures and what have you. I'm gonna put some red into the cards and complementary to all the screen here, where the red I've just pick straight off, straight up from the palate. So it's quite vibrant. Quite obvious. Beautiful, complimentary red. With all these green running through. I'm going to do the same thing maybe here, but I'll mix a bit of purple, bit of purple plus red. Picked up green by accident. **** bit of purple. Which again is kinda like a warmer color, but still cool, but it has a warm bias to it. I'm just putting in a light wash of color there for that car. Little bit of color, drop in a little bit to you as well, just sharing, change up the color of that car, touch the windows. I'm going to get some cerulean blue. Just dropping a touch of that and they're hard to drop in with that kind of contaminating the rest of it, but you'll be okay. The biggest here. Let's get in some colors for these figures. I'm going to go with that same purple with this figure. I like that pebble actually drop a bit of that in for this figure. Just kind of bring that figuring out a little bit more. The other side I might have some kind of like a bluish color loops that's not blue. Just a bit. The Rousseauian, the kind of color. Good, good. Some red for this figure here. Again, just to emphasize the complementaries a little. 12. Townhouses: Paint The Shadows: Green and the red. Good. Let's work our way into these structures like the trees and stuff like that as well. So I can just dropping a bit of green paint, a little bit of dark green paint. Tissue. Done something. Lift up. Make a mistake. Tissue nearby. Just lift off. This is what we were doing in the last scene where I am just trying to getting a little dark. It's here surrounding the buildings and stuff around there like that. Just a little bits of bits of stuff running through it. Because it's already dried. You get these kind of shopper bits in here as well. It gives the impression of extra detail. It's still very, very lot and makes them using it's mostly water, but lot darker. The color is a lot darker than the previous sort of greeny, light green mix that I had. Just dropping that don't be afraid of getting in dark colors. I think it's something that beginners in watercolor struggle with a lot. Building the confidence to go darker. And understanding that it draws out the light colors only makes sense once you lighten your lats and your docs together. And you can really, you can only see it at that point. Otherwise you'd kind of flying blind for and you, and you have to have that belief that it will work out once you've done that just a bit more of this green to indicate these little trees and stuff that are interacting with the building. And this helps when you have a smaller round brush like this. Because you're able to gamble, you brush around. I've certainly certainly done a lot of lot more detail. And I thought I would look at that. And you just indicate areas of light and darkness in these shrubs. Things, they come into the ground, touch the ground, make a big difference. While I have a bit of color running through there and I'm playing around some docs. We can actually drop some of the dock seen already in the background of these buildings. So I'm just picking up audio file pickup, purple to purple, mixed up in here and just drop that in here. That thinking also about perhaps a light source. Where do I want the light to run on the buildings? Because we said that we wanted them to run that way. Yeah, Because of the opposite. This is kind of this line is going down and maybe we want some going right, right to left, left to right. I didn't know. I just feel like that might be a good interesting shadow pattern. I can drop in a bit of purple in here, in here, just trying to find the areas of dark areas first. I'm using purple is because I've used a lot of neutral tint and I feel like Having something else and he will decrypt, create more interest. Little bit of darkness in this window, mainly underneath the frames. That darkness under the frames. But it goes nothing. We will stop bringing in some of these darker shadows. Just going to use purple, neutral tint to dull it down. I want the shadow to be a bit cooler. Mix that up nicely. Now this shadow under here, do a little line like that. Little shadow underneath here. These little comb moves underneath that tide of building there. You have shadows underneath the triangular bit of that booting way to connect these all up. Let's see, maybe the shadow is run across like this. This is the kind of light shadow Patna we're talking about, maybe run across there and this one towards that right-hand side there as well. Here he goes, nothing bit of a shadow pattern running across like this year as well. And if we get the shutters to mix with the greens, this is where magical things start to happen. Do the shadows and you mix everything altogether. And that's the power of watercolors. This sort of interesting. I don't know, Witton width starts to happen and then suddenly, suddenly you got something that looks very unique. Like I said, you don't know exactly how it's actually going to turn out and you've got to give it a crack, then check it out off the woods. That'd be afraid to use more water as well in these washes. But when if you use more water, just make sure you don't touch it, just let let it dry. Even if you see the water glistening on the surface of the page. Let it dry. The worst at these two because I go back into areas. I think that looks good. I can just improve it by adding this and then, and then I've stuffed it better, that shadow. That's what I mean when I was saying when we're going in and doing the really dark bits brings out the lot. Just change this. Move this around a bit so you can see better. Touch better. We'll go through and we start, we'll do this top bit here. Good. Just a little area of the building, its top-left polish color, a bit of neutral tint in there as well. Just finding just finding some shadowy areas. It really just to imply what's happening. The windows, I'm going to have to make something up. Yeah. Look, how are we going to do this? Rarely. Something like this. I'm just making up this shadow pattern on the window. Be running towards the right-hand side. Not sure how this is exactly going to work, but I'll try anyway. It kind of like the edge of the window running towards the right-hand side. This one's a bit off. What do we have here in or even the tops of these windows of a touch of shadow inside them like this. A bit more docs or India cumulative process. To stand back and have a look as well. Sometimes just to double-check. It needs to be dark and some of the greens will start working on some of these darker greens as well on the footpath for these little shrubs and stuff. I'm not done these ones to the left yet, so I'll just won't just getting a bit of that green, greeny color for the ones to the left. The building here forms a sharp a shape on top of those. Other ones. Just need a bit of texture in them. Variation in the colors. This part of the building, unfortunately, I've lost that blue, blueness in it. It's kind of just turn green, so I'll have to just deal with that. Except that we have in here running towards the right for those windows. Then let's do these ones now. I'm going to be the shadow underneath the windows like this. Underneath that one. I'm not too happy with these shadows in the middle building guide. I think I could have done them a lot better, but we can do is just re-emphasize them and touch that. Restate them. A little bit of shadow on the right-hand side of the frame as well, is going to help. Let me just work more on these ones as well. Finally, LOC how the one on the rods tend to think that's quite dramatic, I reckon once it's dried, it will look a lot better. The weight for it. This darkness here as well. Let's get into some darkness in here. Middle section of this building is connected section. This is going to make this middle building back better. Building just pop out a little better. Having that darkness run through that section like that. Shadow for this building to the left as well here. Again, this is going to have the same effect to make this building, the lights on this building pop out more up there. In working here to put in some shadow inside of these windows. Gonna have to just re-emphasize some bits. I'm going to put in more shadow up at the top. Good. More on these bits of trees and things here as well. Nearing the end of this painting, hearing the end of this, really we just got to put in dark bits and pieces. Well, this all should be good to go. In a bit of, a bit of the light as well. Do think. I just need to just darken some of these shadows a little bit under this one, because this one's quite dark already. We want to get them to match. You know what I mean? So we have the shadows don't look too light on one side of the building. One building, I mean, shutter here or something caused by that structure. Darkness on the rooftop. But even just exaggerate the shadow a bit. Shattered and nothing perfect lungs I follow. What I'll do is also getting some lines running vertically, horizontally across the rooftop of this building. I'm just using a little number three Paintbrush For this, the same paintbrush. Putting a few lines. I don't know, just to create some more texture on the roof. And if we want to do it for the actual building, why not? There we go. I think that actually looks better. Mix of color running through here. I think it's also helping me to connect up the shadows a bit as well. To stop the background, the student texture in the building of that. This is why I say it's so important to draw, to learn. Pick up a pen and just draw because you, this is what we're doing essentially with the paintbrush. I'm just drawing these lines. It's the same thing as using a pin. Billion indifference. Lot marks. Some of these lightbox. In there, in isolation don't really look like much, but in the context of a whole painting, they make a big difference. We're really getting there already and now we will do the finishing touches. We shouldn't take too long, maybe like ten minutes, 1015 minutes or so. These is asking so shadows should be a cool color that what we need to use. Yeah. I think for this particular scene, try a trial cooler color. Yeah. I do find like with a facial shadows, you get warmer colors because depending on the person's skin tone. But I tend to find that you get more kind of like warmer colors. But with this particular one, because we do have some warms in the building. I mean, for this blue one, you could try to do like a warmer shadow. But I don't think too much about the color really more than the actual value of it. Making sure that the value is significantly darker, dark enough to imply the shadow, but still light enough so that you can see the transparency of the watercolors. So stick with that rule of thumb V and you won't go wrong. Okay, So I'm picking up really dark colors now this is just neutral tint. Go to my brush, put some water through it. Actually. A bit of water at neutral tint. Seems like a cheek color because I don't have to mix anything up. There. Here's a wheel. I thought I'll put in a wheel here like that. And let's just join up the shadow underneath that car. Just going to admit to put a shadow running across the ground like this. Connect up with the wheels. Also underneath the car you're going to find there are often some shadow areas. So you can do that, don't do any of that on near the windows. That kind of thing. In the background, you can actually just create some extra shadows and darkness around the background to help bring out that CO2. We're using really just our darkest colors to do this. Let's me, there's something there and we gotta figure here so I can just drawing the legs at least figure with the brush. A bit of shadow on the directly beneath this figure. Connecting with the legs. Look what else can we do? We've got a tree here that's kind of branch to stop drawing a little bit of that in like that. Because here the leg in front leg and the back like this keep enough water in there as well so that it doesn't look too. Uk on this figure here. The course, we'll in like that leave a bit of white in there as well to just indicates some highlights or something bit of the shadow underneath the car. Their shadow becoming from, I think maybe a bit more towards that right-hand side. And I want it to follow the same pattern as Lee buildings at the back. Let's have a look what else we can do in the windows. I think there's a bit of a need to make some of these DACA. Yet another layer of darkness inside here. Again, remember not to color the whole thing in at times you just live. Previous washes shine through bits and pieces. All the different variations can compliment each other. Shadow in here, even left. I'm going to put that in before. Up here there's a bit more variation. Darkness at the top like this. These windows, they actually quite dark inside like this. For this particular building on not much with the window is for most of them. You can just color. You want. And we're at similar details. This window, the store series is quite dark. Well, I can just put in a bit of color in there. Same with these windows. Doc. You can just grab a bit of this dark color, whatever, whatever it is you're using. Just using neutral tint, putting in that final wash over the top. Some of these trees and stuff also have a bit of darker color in there. Yeah. It's kind of interesting actually. Not like this tree for example, it might be here, but there might be like a shadow underneath it. I didn't know where it is. Like these ones I like on the footpath, some of the trees so you can get like a bit of a shutter running behind it. I'm not really going to do that. Do it. I just want to create some separation here. Perhaps a few lines running through the scene. So just a few little lines to indicate the road, the direction of the the road. We'll know the direction of that lineup. Up the top. Keep it really light. I would like to put in some birds up here as well. Join things up in a few one naught red faces. Let's draw yourself. Finishing touches. A little bit of white gouache. Bring out some highlights from the figures. Squeezed out a bit of white quash. There. We go. Let's go ahead. I'll drop in a bit off the top of this figure here. The shoulders like that. Car as well. We can just drop in a bit of, a little bit of gouache. Anyway that you want to create a small highlight. Going to do too much for this one, this one, they have three figures, actually, three figures in here. For example, you might want to restate some of these lines and stuff in the house and not so necessary, but it's just one of those things you can do with gouache. As you saw in some of my previous demos as well. Just thing is to not overdo it. Mix in a bit of yellow into the squashed to create a kind of colored goulash. Go into some of these stuff here, create some walmart colored tree branches and things. I think that's needed in some areas just needed, but I think it looked better. Branches and stuff running through here. The lighter color. Again, the kind of opposition between warm and cool, light and dark can make quite a big difference. Just trying to find little bits that I want to draw it out. Increase that sense of light. Good. Cerulean mixed in with a bit of whitewash. Also good to maybe get back some of the color in the windows or create some variations in here. Coolness running through that. Like I'll call this one finished. Like I probably go back into it again. May actually darken that building as well later on. But we've been here for quite some time. We've gone through really a lot. And we've talked about how to start going through basically a few exercises. Some of my tips on getting started and making sure that it's easy for you like having your materials ready, picking reference photos in advance, and starting with something very simple as well. We've talked about, about the general process of choosing reference photo, identifying light and dark areas. We've gone through compositional in-design elements. We've talked through the process that I go through, what I include, what we exclude from a scene, how to how to change it up to fit your vision if you want it to look like there's more light or a bit more busy. Literally won't live in business in there. How to add additional bits and pieces in there to give it a bit of extra character and to match what you want. We've talked, What else have we talked about? Just simplifying, building, simplifying scenes, identifying shapes and structures in the context of buildings, these house portraits. We've talked a lot about sketching techniques, how I measure, estimate the size of objects. We're in relation to other objects. Lots and dogs who basically combine everything together, but also encouraged you all to a change seen in sort of alter it so that it looks I guess, the way you want it to look. If you want to portray a scene that is about a house, maybe you may not have these people in here. You might want to just focus on the house where you might want to portray a scene that's overgrown with nature. She may want to focus more on than natural pots with things in the house is just a side note. Certainly we have done quite a few of these drawings and it seems today, if you have any further questions, let me know. But you should have a pretty good understanding now of what's required when you're sketching an urban landscape, sketching buildings, breaking the buildings down into its separate shapes. Being able to identify large shapes and the large components like the horizon line, the measuring the distance between buildings and how much sky. On top of the page there is compared to the building, that kind of thing. 13. Class Project: Your class project is to sketch and paint a line and wash urban scene. This can be as St. featured in the final class project or based on one of your own photographs or scenes. You can also refer to the attached scanned drawing and painting templates. I recommend drawing each scene free hand. Drawing is an important step in improving your painting skills. It provides you with an opportunity to compose and plan your painting. Once you've finished the drawing, use the watercolor steps and processes included in this class to complete your painting. Finally, upload your project.