Line and Wash for Beginners: Nordic Scenes Made Simple

1. Introduction: Hi, everyone, and welcome to line and wash for beginners Nordic scenes made simple. My name is Darren Yeo, watercolor artist and instructor. And in this class, I'll be guiding you through the relaxing and creative world of line and wash, otherwise known as pen and wash, where loose watercolors meets expressive ink linework. Together, we're going to be creating a series of Nordic inspired landscapes and streetscapes. And you learn to build confidence ink linework using simple shapes and textures. We're going to be going through how to add depth, mood with different light watercolor washes. Simplify complex scenes into elegant minimalist compositions and develop your own expressive sketchbook friendly line and wash style. This class is designed especially for beginners. So even if you've never picked up a pen or brush before, and I'm going to be guiding you through every step of my process, all of my techniques along the way. And by the end of this class, you should have a beautiful collection of Nordic scenes and the skills to create your own pen and wash artworks anywhere, whether you're at home or traveling. So grab your pen, your watercolor set, and let's get started painting the quiet beauty of the North. 2. Materials Required: So I want to go through the materials that we're going to be using in this class, and by no means, is this a prescriptive kind of instruction? It's just going through, I guess, the materials I use and how to get the same or similar results. Now, in terms of paper, I'm using cotton watercolor paper. So I've got various sort of surfaces. This one is hot press. So it's basically a very smooth surface. As you can see, there's no texture on that paper compared to this one here, which is cold press Okay. And you can see, there are lots of kind of divots there, lots of texture. So you do get slightly different kind of looks, as you can see, that one looks a little bit smoother, especially with a sky less blotchy, but you also get more dull tone down colors compared to the hot press paper, okay? Now, they're all made of cotton, but again, you don't need cotton paper. Any type of watercolor paper will do you fine. But just keep in mind, if you're not using cotton watercolor paper, sometimes that can be a little trickier for beginners because you know, you do get blotchiness, some unanticipated effects, that kind of thing. This sketchbook, as well, which I do a couple of scenes in, is 100% cotton paper, and also, also, as you can see, hot press. There's no texture on there. With hot press paper, it is difficult, more difficult anyway to get these nice transitions here and there, because the paper does not dry evenly like you do with hot press, not cop press, but cold press and rough paper like this with texture. So yeah, if you're starting out, I wouldn't worry about it too much, but again, I think, yeah, paper with a little bit of texture on it is more forgiving. And again, cotton paper. But if you don't have that, just make sure you use whatever you have. Now, in terms of pens, I use, you know, two types of pens. So these ones here are basically and as you can see, just ink pens, and the NIBRey pens. These come with, like, a liquid ink inside and basically like a ball point on the top. So this gets you, like, a much more I don't know how to put it, but a much more distinct kind of look to your lines, Okay, compared to say this one here. Okay? So this one it was drawn with these pigment liners. So pigment liners are kind of There's ink inside as well, but they have this kind of felt tip on the top. So yeah, it basically doesn't look as harsh and the I do find that the top of the pen will skip over the paper a little bit as well. So it just looks a little more loose. So yeah, just something to keep in mind. These ones are a lot cheaper, though. So yeah, it just depends on the kind of style that you want. I do find with the pigment liners, as well, is that they do come in many different sizes. So if you're going to get a normal ink pen like this, probably a 0.5 or 0.7 are the best options to go with, whereas these ones come in various different thicknesses, you know, 0.05 up to 0.8. And, in fact, I have another set that has a few other interesting kind of nibs on them, as well. But yeah, they're not needed. At the end of the day, if you just have a 0.5, that's fine. Big thing to make sure is that these pens state waterproof on them. So you can see here on the side, there's waterproof, same with these pigment liners. It's very important because once you draw, you don't want to go over with the watercolors and cause a big mess with all the ink going everywhere. So they need to they really need to be waterproof. So let's move on now to brushes. These are the brushes that I'll be using in this class. And I have these round brushes here, just some synthetic round brushes. Now, you're not going to really need all these. Probably a small one and a large one's going to be fine and also a watercolor mop brush. And if you don't have the mop brush, that's fine. But the mop brush does help to pick up more paint. So if you're painting large areas like skies, maybe some of these trees, you don't have to keep going back to the paint well and picking up more color over and over again, having to mix it up and find this is a great little tool to use. And yeah, with pen and wash, you're not really looking at the full set of brushes sometimes that you get with actual proper watercolor painting because it's kind of like a coloring in book. You're just filling in bits and pieces here and it doesn't have to be perfect, and it's meant to be quite quick. Now, this is a little set of watercolors that I use, and there's various different sets of watercolors, okay? But I do use these ones here that have these dried up pans. Now, if you you know, if you've got liquid paint, that's fine, as well. I actually get liquid paint, squeeze them back into these wells once they run out and they end up drying up anyway. And I just find it a little easier to control the quantity of paint on my paint brush by, you know, when they're dried and I can actually take out however much I actually need. So yeah, in terms of the colors that you'll need for this class now, basically, there's just a few colors that I often go back to. So there's a bit of white here, and I do have some yellows, a yellow ochre. There's an orange here. Do you have a Hansa yellow in a separate palette as well, do you have a red, can be permanent red, can be piral red. Some earthen colors are important. So if you have, like, a darker brown, that's fine. Then you can just dilute it to make a more lighter brown. Cerulean blue for the sky is an important one, as well. I got a bunch of blues and purples here at the bottom. But yeah, essentially, if you've got your three primary colors, you've got if you've got a yellow, if you've got a red and you've got a blue in there should be absolutely fine. You can mix up most colors with those. The white is more of a bonus color because I like to mix that with the yellow to make it kind of creamy yellow ish color. So that's it for your materials. 3. Bergen, Norway Drawing: We're going to get started with the drawing on this one. I'm going to put the bottom of the house here, scenario in Norway called Bergen. I took this photograph because I really liked how the light just reflects off these white houses, and we've got this one here. I'm just going to draw free handed holding my pen right at the edge. Roughly look at where the roof of the house is. Now, this bit of paper is a little bit longer than the actual photo reference. I'm going to have to make a few bits up, maybe they won't be exact a proportion, but that's okay. There we go. That general white house there. You can see I've finished it off round about here. You've got a bike, maybe here. I'm going to draw that in a quick little scribble here. You got the seat and maybe the handlebars here, something like that. You've got also some railing there. The house itself, you can see the rooftop has this separation up area here, this top section, where you've got the just some little tiles, which I'm going to quickly indicate like this. Not too much, but just enough to indicate something up there, of course, you can start putting in some windows. Remember, there's two sets of windows, three levels really this top one there and then you've got one here. You've got one just directly below that top one there, and one here not percent symmetrical. But these small little features like this, again, they're not going to make a huge difference at the end of the day once you finish off the whole scene, no one's really going to notice, but I try to get them roughly as per the reference, and you've got these window frames as well that you can just put in again, fairly roughly. I'm um not going to try to go for complete accuracy here. That's there you go. You can see also within the windows that there are some darker areas within some of them so you can go ahead and add in little details here and there. The great thing about this pen is if you don't try to make it perfect, it ends up actually looking better. If the line a little bit wonky, as you can see, not all these lines are perfect, just leave it in and continue along. This is just a sketching exercise. Think of it as an exercise rather than trying to come up with something that's completely completely formulated and finished. I like to hold the pen right at the end because it helps me to keep things loose and more relaxed rather than overthinking everything the further down you hold the pen, the more accurate you can be. Okay. But for a more sketchy look, I'd recommend holding the pen a little bit further up. Again, not worrying too much about the detailing and look at all these objects as all these windows and stuff like that, just as objects. Shapes. This is a square within a rectangle. If you draw the shape, it will look like the actual thing you're trying to draw rather than trying to look at it as a whole as a house because the complexity of this again can be overwhelming for a lot of people. If you draw shape by shape, you'll figure out at some point, it will then start looking like what you're trying to actually draw. So it's another house or whatever at the back there. It's kind of difficult to see exactly what's at the back, but I'm going to try my best to get in this other house. It's like the side of a house out the back with again, like a rooftop there, a couple of chimneys, and it sort of runs down in this other house runs to the right, like the rooftop of it, and then you've got this little chimney or what have you there on top as well, look just again, very quick little scribble like that. You've got a bit of darkness on the right hand side there and then it just trails off here to the right let's have a look. It's actually probably a bit, um, like that, there's a darker section there to the right of the house. I'm making this a little bit bigger. I just want to emphasize it more and here you've got another rooftop of another house, there's another rooftop of something out the back there and another really tall area here, like a chimney or something, I guess, make it a bit more three dimensional. Um, like that. Then we've got all these white houses coming in from the right hand side, which I'm going to just um, pencil in and simplify down. You've got this one here. Again, I'm not really looking at them as houses or anything serious. I'm just looking at them as basic shapes and trying to replicate those shapes. All this stuff again is going to be in the dark here, so we don't need to focus on the complexity of detail. Just try to work on those lines. This is the side of the house, I guess, here, bits here. Um, there we go. We've got this house here, in the background, the side of it from the right. In this overlay, I suppose, of these houses that just, um, run down the side here. There we go there, and then we might have another one coming all the way up here, and then it finishes off the top like that. That disappears off a little bit there. Then down the side of the building, you've got these horizontal lines, linework running down the side of the house. Um, all these houses over there just have that kind of finish to it, the wooden planks going across stops around there. Let's start um detailing this extra area at the back as well. That can be again, just another one. Again, very simple. I'm not trying to getting a huge amount of detail here. What else do we have around in here? Look, this house as well, there are little bits of darkness on the right side, the rooftop here could be darkened like that. A bit of hatching in the direction that I want to imply some shadow. There's things people do as well. For example, you can just for example, hatch in some of this shadow shape here. Now, again, there are windows and stuff on the side of this building. I can just um, put in like that, little indications of windows, and then I'll just hatch downwards like this. Again, this shadow like shape. Like this. You don't need to do this shadow as well, you can wait right till the end if you want. This is the boards of these houses and what have you at the back simplified down. Of course, this bit in the sunlight here. There's a house all the way back there and then again, more details coming out like this. I'm just simplifying this section out the right down here, might actually put in maybe a person walking here a couple of figures because there is a bit of white space that I can fill in like that, just a couple of people maybe walking into the scene. Here is going to be really dark as well. The left hand side. Plus you got this other building that runs all the way up and finish well, finishes all the way to the top of the scene there. It's a little balcony here as well. Yeah. Running down. That's going to be all dark. Same on the building. You've got a tree here that's put in this tree, a little shape of the tree in the side, and of course, you have some of this railing now that just comes all the way out into the foreground, but I can extend it out to there. Again, you've got this shape here with the lamppost, which I can indicate this like that. Quick little indication of that lamppost. A lot of this stuff here is pretty dark, so I don't need to really detail that much in there, but another thing you could do is perhaps put in a figure here in the foreground. I'd like to put if I'm going to put figures in here, I'd like to put in multiple figures. We've got a few, not just one or three maybe walking through to indicate this um, sense of light not sense of light and shadow, but sense of depth in the scene. Having a look around, do I have anything else I want to potentially put in here? I mean, the building, you know, as you can see, there are some little lines running across all the bits of wood and what have you. So I can just skip over some parts. Let's just try to indicate some of this stuff. Yeah, these little planks of wood are very important because they indicate, I guess, the design of these buildings. And, um, have a look, what have I done here? An area. It's part of that house, I guess. Let's have a look at what have I done? Probably should put in the side of some area there of this house. Um, shade that in a little bit. Great. Let's get started with painting. 4. Bergen, Norway Painting: Of cerulean blue for the sky. Drop that straight in, like that. I want this to be really light. I mean, pretty much 10% paint. The rest of it is just water, and I'm just dropping this in with a mop brush. As you can see, it's like a really large brush that helps me to spread this paint around without having to go back into the palette again. Just cut around the houses because really important thing here is that we're leaving the houses white, which is a main feature of the scene of these houses. Marry that around here. Let's go around here, be careful with this one. Yep. Around like this. Okay. Great. All we got to do with the sky. I might just spread that around a little, put in a bit darker blue or something up the top here for a bit of variation like that. Good. All right. I'm going to let that all dry off mop a bit of that up first. Good. I've got a bit here. That's no big deal. Right toe. What I'll do now is maybe swap to a slightly smaller brush, a smaller ground brush, and we're going to put in a bit of the warmer colors on the houses. I've got a bit of brown and red. I think this is going to be good like a brownish red for this top of this house. Something like that, like a brownish red. You can mix one up yourself as well. Try not to get the sky to mix in with it, but something like that should be fine. I believe this one also there's a bit of brownish red color on the top of this roof, maybe a bit. Actually no, that's fine. Bit here, perhaps the side of this house. There we are. Tiny a bit more brown in there. Good. Aria. What else do we have? Good. I pick up a bit of this yellowy color and start putting in a bit of that roof these little little chimneys. There's maybe some gray which I'll pick up that's just left over on the palette. I want to get in some color here for the rooftops. So gray Gray is just a mixture of every color that you have. If you have a messy palette like me, it makes it a lot easier to get this in. This is basically just a general rooftop color. That's a bit too blue. Let me just mix in some of this other stuff here. Okay. Good. I might actually leave in the little bits of white on the left side of those chimneys, but this one does need to be perhaps darkened a bit. I have to go into that one more time actually afterwards darken it. Good. Here we have also some darkened area here where the house is and going to put in this bit darker darker grayish shadow or whatever that's running across this building. There and actually, if you look at it, it's running all the way down. This is just a bluish gray color. Can you a bit of purple in there as well? Running all the way down here and it's creating this really interesting contrasts around these figures. Make it dark there in the background. Here. All right. Good. It looks like there is a bit of a shadow there in the back running through the center of all these houses here. Oops. I've gone over this one a bit too much, but this house a bit too much, but it should be okay. So that, let's have a look. There should be a bit of shadow here too. All right. Maybe here there doesn't have to be perfect. I just want to make sure the light source coming in from the left hand side that you've got a bit of, yeah, a bit of darkness running to the right. A lot of these houses, they're pretty much not pretty much in the light. There's not much we need to do there. Might just make this bit up here and, um, get an indication of some shadow running to the right, just to cut around that figure a touch. Okay. Great. This building here, I will put in a little bit of some kind of shadow. That, yep. Blue and brown mix makes a really nice grayish value as well. Great. Because we need to have something running through the base of this get some blue and brown together. Purple is also a great shadow color. I do use a lot of purples in my paintings. Over here, I might just dab off a little bit of that and leave some of this light in the background. But otherwise, I will actually just get in this big shadow in the foreground running to the right. I'm using some gray now, just pure, dark gray to create a very, very dark contrast here and also maybe get in a few of these little marks running into the foreground like that. This house actually runs all the way down here, so I can just imply the bottom of that house there Okay, good. What might help is if I just wet some of these areas of the house here, here, just wet this area a little bit, where we've got some shadows and I'll just drop in some little uh, I don't know, indications of shadows that might spread out along this area of the building. Here, let's do the same thing. Like that, drop that in a bit. This building to the left is really dark, so I'm just going to drop in this dark color, bit of orange as well, like that. Runs to the left and then disappears off there. Good. These look a little bit like softer shadows, I guess, running across the building. Good. These little, as you can see, these little bits and pieces. Might be good at this stage to swap to a smaller brush when you're detailing and slow down a touch. When you're detailing these shapes like the lamp posts, the tiny details here they will help to bring out the I guess the story, the scene that you're trying to tell story you're trying to tell. Leave a bit of time there to do that. There's a bike here at the back. As well, I can just indicate bits in this railing. It's a really dark color, really dark black there and um notice I'm just paying a bit more attention to that area. Plus, you've got these windows. You can put in a bit of some detailing there for the windows. I mean, there's a fair bit all over, to be honest, but, you know, just something like this maybe to darken up. Bring out the contrast of those window frames, those white frames. This thing, as I said before, needs to be darkened to touch the background there, that chimney or what have you. Maybe this roof as well. I could do with a bit of darkening and I'll leave a bit of these windows or whatever they are, those windows. Move that across there and then I'll Oh. Let's just get in this other rooftop. Again, this is a section that's quite dark. So it's almost like I'm just redoing this shadow section a touch. Because it does as you see in the reference, it does need to be darker than what it looks like at the moment. But I'm leaving on a bit of that previous wash as well so that it still looks like something. Is multiple layers of detail running through here. Then here at the base, I'll go a bit more easy like that. This probably should be a little darker in there as well, like that. Uh, Yep, really just darken around some of these figures of touch as well. I like to also put in the legs of the figures around this time, so you can put in one leg there, a couple of legs, really dark paint that hits the ground like this. There we have it. Then we have this figure here walking into the scene. Legs here could be walking towards us as well, tell. But these ones in the sunlight. That's important to just get them in. I will include this shadow, legs just running to the back a bit like that, some shadows and same with this one touch maybe running towards the front. That shadow of that figure, um, these bits of railing and stuff as well, should have some shadows, um, not to mention perhaps some darker sections of shadow also down the front that's weaving into this other bit of the shadow. Yeah. Various bits of, um, detail. You have to make sure you add in so that it's not too boring and all the same value. That could be a bit of darkness in there. Let's have a look in here, maybe a bit of darkness in here. At this stage, you're making it up a bit because there's so much complexity in there that if you try to I don't know. If you really try to get this in exactly as per the reference, it's so stressful. Look at some of the darker and lighter values in here on the rooftop here, just underneath sections like that and just add in a bit of darkness or light in certain parts, not chimney but the balcony there. Yep. This needs to be darkened down a little more here, just want to really make its presence known. The windows, again, let's just put in a few more of these windows. Again not perfect, but, um, that one I'll leave the windows white more white like that. The people still appear like they're back there. That's good. I'll just again bring out the colors of them a bit more. Okay. Darken that right hand side of the building. You want to make it look like that light patterns moving towards the right hand side. See little bits shadow and things running across. This building has maybe some architectural details there and perhaps a little bit of shadow on the side of it as well, like that. But Let's put in some more details. This is some rigging, I don't know what it's like a bit of fence or whatever, there, put something in like that. I might add in a bit of color for the figures, so a bit of blue, touch of cerulean blue for that one, just for the shirt or what have you. There, why not try for this one here as well to bring that figure out a touch. I might add in a bit of white to this one, just a touch of white to change the color around a little. There and the other one we can leave as the same color if you want. You can put in other colors like a bit of yellow or something. I usually add a bit of white in with the yellow to make it stand out better, the clothing, leave the other one white. Maybe a bit um I think got a bit of red somewhere. Unfortunately, I've mixed it up with some other colors, the red does look a bit dirty, but we should be okay. Just a bit of something for the faces like that. Good. Yeah. And, uh, more detailing for this building, a little more detailing. So under the rooftops and things, you know, you can see just a touch of shadow appear here and there. So I am just um implying this specially on the right side of the windows here there is a bit of shadow running to the right like that. Okay. Okay. And that is finishing touches on this chimney there and there. And we are done. 5. Busy Canal Drawing: All right, let's get started. So we're going to start at the center of the scene roughly about here. And to you all the way in the back, there are some triangular shapes. These are these, I guess, umbrellas, shades, all the way in the back. And from there, we are going to start drawing a bit of detail around here for the canal. There's some kind of canal in Amsterdam, and it's going to come forward like this and run out through to the front of the scene here. You can see where it hits the water maybe here. Okay, it's all dark. But actually here, you have a platform where people are sort of walking around. There's benches, things like that, tables. So we can just imply some of this stuff here. There's like railing as well. Okay? Like that. You've got people kind of sitting down there's a person here, another person here, imply the back of this person sitting down there, maybe at a table of some sort there. There's people here to the right that are just walking along as well. So there's someone like a bit larger here in the front we're carrying a bag, kind of outstretched here like this, that kind of walking around the front of the scene. His head a bit smaller. Okay. Great. I mean, there's still more people here kind of standing out in the back, and I like to just imply rather than put in too much detail for them, get them to sort of look smaller and smaller as you move off into the distance like that. Okay. Now, this is a fun bit. I like to put in these umbrellas. But yeah, I'm kind of just estimating if I've got enough space. Do have enough space. The umbrellas are roughly just around the same level of these ones in the background, but just a little lower. So you can see there's one here, we can make one here. There's multiple of them, so it's difficult to see exactly where one starts and one finishes, but roughly like this, down here like that. There are a couple of umbrellas here, again, here in the foreground, that are overlapping with each other. I just put in a bit of darkness underneath them in ways and then the stems, as you can see, just run down all the way here. To the bottom of the scene, stem there, another stem there. There's probably another stem there for another umbrella that's covered up there. There's a flag here as well. Do you know what flag that is? It's look like a country flag looks like, actually, probably is a country flag. I can't recognize exactly what it is. But I'm going to put that in there. And let's start putting in this window windows there, okay? The whole idea of this is not to think too much, okay? You anchor, you know, the first part that I was drawing, these umbrellas at the back. That's kind of like your anchor point. So if you get roughly where that is and then you start drawing outward from that point, everything will roughly make sense. Okay, so there's another window. I mean, people can spend, you know, ages and ages just drawing these things in, but I would really prefer not to do that. I don't have the patience for that, and I don't think it would fit into the into the kind of style of this scene. So I'm just drawing them in pretty simply like this. Okay? There's bricks and stuffs on the building. That's no big deal. Okay, so let's start with these, you know, on the right hand side, I don't know what they are, but there's some older buildings here in the back, they've got white parts of the bottom. There's the rooftop here, bits here, and then you can see the buildings go up like this, you can see just top of that building there, there's a that one there. They just overlap with each other in parts. Here and here, here as well, let's have a look. Another one here. We've got as we start nearing this building, let's have a look. We've actually got larger one comes down, and then we've got more this one here. Let's a look runs up the top, cuts off the top there. And we'll just separate these buildings in half, like that. And of course, all these buildings have little windows and stuff on them as well, so I can just indicate some of this stuff, some little windows here. You know, on these buildings in the background, it's less of an issue. You've got you know, it's all kind of in darkness, but still still, you want to imply something going on in here. So I just put in a few little downward pen marks like this to indicate some distant windows or whatever on these buildings. Great. Let's get in the left side of this canal now. And here you've got this kind of part that sticks out at the back and might as well start drawing in some of these boats as a boat here. That's just be a boat, just an impression of the boat. They're just boxes floating on the water, and you can see there people in these boats as well. I'm just going to draw a little bit of something going on, but I mean, in all reality, it's not you can't see all that much until you get closer to this one here, for instance. I made a mistake there. Just continue on if you have a stray line or something, don't overthink it. Someone here in the boat and there's some details and bits and pieces in the boat. There's a motor here, and then here right at the back, you've got this larger boat here and I might not have enough space. Let me see. Maybe just have enormous just enough space there and there's some people just sitting on the boat here doing having a nice little ride, something simple like that. Okay. Now, let's get in the left side of this canal. Here, we're just going to finishes roughly about there, but we're just going to put in the edges of the canal like this. There we go. Great. There's so much going on here, but this can all be reduced down to simple shapes. That's a building there in the background, then you can see they just go further up. Details and just disappear up like that. And the buildings kind of have some little separator points in there. And one thing to remember as well is that all these buildings are, in fact, in the light. So you don't want to paint over these areas too much. And actually, when you look closer, there's a lot of detail on there, but the last thing I want to do is add in too much stuff because it's going to be a bit stressful. But here is a little platform, I guess, and a viewing area. So you can see there I don't know, it almost looks like these people have parked their bikes and things on this, area there, so I'm going to just indicate that. This runs down like this here. Good. I got a window here. Let's put in a window side like that. Usually I pay a bit more attention to objects that are closer up. They need to be detailed. There's a lamp here, which I will again use that same detailing for this lamp since it is closer to the front of the scene, you can see the lamp comes in here, disappears off like that. Then you've got some kind of design underneath there. I don't know what this is. It doesn't matter. Another thing I can do is just make up a second window. You know, and maybe a third one. A lot of this stuff is kind of open to interpretation. Don't be too concerned about the accuracy of all this. Especially the windows. There's like 1 million windows running through here, and, you know, you really be spending your whole life drawing these in if you drew each individual one. So I'm just keeping it simple. Okay? Finding ways to just simplify this all down into one big shape. Great. All right, let's have a look. What else do we have in here? I think that might be almost it. I do like that there's some detailing here for the figures and people walking through the front of the scene. So they'd have some guy just walking here. There's a table or something. We can put some bits and pieces of scaring the people walking past, maybe put another person here as well, walking into the scene or who knows? Okay? There are doors behind these people as well. So let's just indicate some of this stuff doors and bits in there, okay. Great. And just seeing if there's anything else I need to do. I think that should be it. So let's go ahead and get started on the painting. 6. Busy Canal Painting: The first thing I want to do is put in some of the warm colors. I'm going to go in with a bit of yellow, yellow and brown. Yellow and brown for this building to the left. Just a dull sort of warm value, maybe even a bit just gray. So sometimes have a bit of black that's mixed in there. Okay. And don't be afraid to leave out a touch of white as well in areas. So that's going to, I guess, make it appear. I suppose, there are some window frames and that kind of thing as well, it's just a warm color. That's all I want in here. I don't want it to be too vibrant as well, so yep, let's bring this down to the left hand side. Still a lot of light. You have to remember with this scene, there's a lot of light on the left hand side, we must preserve that. Here there's actually a ton of white as well. I'm going to be a bit more careful with this and put the bottom of that area in like that. Maybe adding some more blue, something like that. Great. Okay. So right hand side, I don't think I need to do all too much of the buildings except maybe put in some little bits indications of color in areas like the rooftop, I like a bit of orange for that rooftop, what else do we have? I mean, the rest of them are pretty just a warm color, like a dull grayish warm color in some parts like that. Okay, it doesn't have to be much, something to just add in a bit of light for the buildings, and great. Now, the sides of the buildings as well, I'm going to pick up a bit of kind of reddish brown and let's pop that in there. That's too much, way too much. Let's pick up some other colors and drop that in. I just want a really light, kind of grayish, slightly warm, grayish value for these buildings. Um, Yeah. Leave the top of that one showing through like that. Here's cut around these umbrellas. This building here is almost white in color, but it's kind of like a creamy white. So I'm going to put in that sort of creamy white color there in the middle to kind of obstruct that. Now, to the right, this building is, like, a bit almost reddish in value. So let's drop in some of this color. We mix with a bit of red. Okay. I like to just let the colors blend together, not worrying too much about them. Rather than looking at the actual color, I just look at whether it's warm color or is it a warm color or is it a cool color? So kind of closer to blue or is it closer to, um, red. So this kind of needs to go down as well, maybe in here, just a bit of continuation down below. Okay. Something just a bit of this continuation, I suppose. Yeah. Okay, great. Now, I'm going to get in the sky with some cerulean blue, pretty straight from the palette, just cerulean blue. And I've got a bit of water mixed in there, but not too much really. Just want it to be quite strong so that I can use this to cut around the buildings as I normally do, just cut around like this. Using the tip of the brush, there we have it there that's one side anywhere here. And you can kind of just leave white of the paper to indicate some of this. Can you see just some of these white areas of the roof, I suppose, these buildings, the tips of the buildings, but join it on in some other spots as well so that it's not separated completely with the sky. It's dark in the top bit touch like this and we'll bring this continuing down here, all the way down to these umbrellas. So yeah, I'm not really using much paint at all here, a lot of blues, a lot of pigment, but not much water. That's what I'm trying to say. So bring that down. So that's a lot of a lot of sky work, really. And as I continue down, what I'm going to do is just bring that sky wash into the water because actually, I need to add in a bit of darker blue with this cerulean blue because actually the water here is a little bit darker, this wash here. So drop that in. And move this whole thing down, kind of the reflection of the sky. Right. And this is going to go all the way down around the boats, cutting around the boats, as you can see, cutting around the boats and around the boats as well, I'm going to start putting in some darker values. I've got some purple, maybe purple and blue. Let's drop this in. That's all right. Maybe less darkness to the left and more darkness on the right. But yeah, I want this kind of to mix in, blend on to the cerulean that I put in there before. And on the right hand side, it's actually quite dark. It's almost as dark as you can get it. So I'm using a thick purple mixed with blue here. And I'm going to continue this kind of pattern, I guess, not pattern, but the amount of paint that I'm adding in here. There we go. Drop that in and let it mix with the blue. That's already in the water. The kind of, lighter blue and you can drop in a few smaller waves to mix that around a bit like that here as well, maybe to the left. I'm just trying to be a bit spontaneous here so that it looks more natural. Some black here at the canal, the edges of the canal. Great. Good. Now, this should maybe have some yellow, I guess, and here some lighter value in there, dropping in some color, whatever it might be, just warmer values, further up. Bit of red now for these umbrellas, a bit of red. Like that. Could be orange red. I don't really have a proper red here, but this should do. Here we go. It's like a bit more vibrant actually in the reference. And we can get in these ones here in the background too. There's two red kind of umbrellas sitting in the back. There's also this flag. Bit of color for the figures. I'm going to go with some blue for this one sitting down, really warm, warm, less warm, some colors that we can drop in here, make this look a bit more interesting with the people in there. I mean, there could be a person in the boat, just with some color on as well, color on clothing. That's all you want to imply just some interest, little bit of interest in this scene. Too much. So just dab off. Um, it could be this person as well here a bit of red for the heads of these figures that are closer by maybe arms like that. A couple of people here. Good. Okay. Now, this kind of, what do you call it umbrella has some you can see just underneath some darker spots, which I'm going to quickly indicate like that. Okay. Now, really now for the wrestler scene, it's just like detailing tiny little bits and pieces. I might have, for example, this window frame that's like, well, the window here, that's maybe a bit darker on the inside, so I can just imply that there. We can do it here as well for that one to look maybe some purple here, black. And yeah, just some little bits and pieces, because we've got, of course, this whole almost monolithic style bunch of buildings here to the left that I've combined all into one because why it's just too much work to actually paint each individual window and building in. So that is the way to do it. That is the way to do it. When you're sketching, simplify it down, save yourself the stress. There is this kind of water pipe. This water pipe running down here that's like a cerulean blue color. I don't know. I'll put that in. Why not? Put that in like that. Okay? This fence as you see up ahead here, it's kind of got this bluish color to it, as well. So why not put in a bit of that do that, as well. Great thing about these um, great thing about these sketches that you kind of at some point, stop looking at the reference. So I'm just going to darken that area. I don't know why I just thought maybe having a bit of balance here would be good. And some shadowy areas maybe underneath here as well, something here. All right. So I'm going to start putting in some darker bits and pieces. Now. We can see underneath here, it's pretty dark, and then underneath this darker area, it combines and joins up like this, and you have really some seriously dark areas. And I'm going to just use this brush to kind of work this out, basically just adding in this darker shadow over the top of everything here. Of course, like don't go over the entire previous wash, leave a bit of it still showing through, but this is going to help. Here we go. There's people in here as well. So I'm just cutting around some of the people and I don't know, just indicating detail by cutting around underneath the umbrellas as well is a good opportunity to just darken a bit more so that the umbrellas show through. But you can see the figures, it's important to just cut around them here. You're not painting the whole thing this color. Because this area is pretty dark. But of course, it does have some mid values in there as well that you want to leave in. And the figures, of course, illuminated by a bit of light. Okay? This is a great way to do it. You're just leaving parts of the previous wash. You are also creating a bit of extra detail. So there we go. This is also dark. Another figure walking here and then foreground. So I'm really making it a bit more darker here. I mixed in a little bit of gouache there as well to kind of correct this hazy sort of look here in the front, and then I'm going to darken it off more at the base here. Okay. Like that. What we got the background, just leave some of those stems. Bits and pieces where you can sometimes indicate some extra detail, pop that in. The windows, like this window. Look at that, that's just completely dark. So you can, you know, add in some details with the windows like this. I don't know if we want color them all in. We can maybe color some of them in. Sometimes leaving some of them white or whatever just makes it I don't know, just makes it look more interesting so that they don't look all the same. And really you're just using the brush here to to solidify the scene by adding on little details, the frames of the windows. And I know the frames are actually, like, brown, so you can you can use a brown if you want. I think just any dark color should do it. Any dark color and dry brushing that color on a bit as well. What's this here? It's like some other something that sign. Maybe I'll get the flag pole, draw paint that in a bit more like that. I don't know. So, a bit more window, some windows here, and here on the side of this building, let's put in some windows. These maybe bring out the light a bit more. Here, same sort of deal for these buildings, maybe just to indicate the light. Great. And same thing goes for some of these buildings, you know, some little darker spots in the buildings can help. Um, boats. I want to put in a bit of shadow. Running here. Because the there's gonna be some shadow running to the left. And just get some of these railing bits in as well. Why not just while we can underneath, there's a bit of this boat, these waves and things as well. D more black in some spots here to really bring out the edges of this canal. To be honest, some of this stuff here is really, really dark. It just goes downwards, because that's where it sort of hits the canal. The water anyway. There, there, there, there. Okay, great. Let's look at the umbrellas. Probably put in a bit of shadow there for the umbrella underneath. What else can we do? There's like a bit of shadow here. Edge of the umbrella maybe getting a shadow cast onto it here maybe. Okay. It's really just detailing work from this point onwards, like this area here, see where this person is walking. I can bring out that figure a bit more by adding darkness around the figure. You don't have to do this. It's just a technique to bring out contrast, especially in the figures that are closer to the front of the scene. I do find it's difficult otherwise to make out what's exactly happening there. There's a guy standing at a doorway, and the rest of them are kind of all the way in the back and I might just put there, you know, some indications of the legs here, a bit of shadow or something like that. Who knows? Maybe there could be some darker ones here in the back, too, just indications like that. I think there's some kind of Yep. Okay. Boat. Again, we've just darkened some areas of the boat to the right. Great. And that's it for a sketch. 7. Cafe Scene Drawing: Okay, let's go ahead and get started with this drawing, and I'm going to put in the bottom part of the scene basically where the road ends right at the back here. So just a quick little line there, might stop it shy from the edge of the paper. And let's do this building here to the right. Okay? First, we've kind of got to measure roughly where the road finishes, maybe there, so I'm going to start the building like here. Okay? Maybe here, maybe the side, so we're going to go up. It's just a really, really sort of tall building, goes all the way up to the top there. Let's kind of end it maybe about here. And there is a top part like that. Sticking out. There's a bit running to the side there, and then it comes down. Okay, here we go. Great. Alright, so that's the main sort of, you know, I guess, silhouette, I guess, of the building. And we'll get the side of it here and just can see it running down to the side. I'm going to exaggerate this a bit and make it look like there's more yeah, there's more details, and there's, yeah, there's more of that side of the building showing. And we can kind of put in a few of these lines to indicate, like, the perspective of the scene. Okay, there. And I might just put in a line running to the right there, as well. Oops. I've gone too far to the right. That doesn't matter. Uh I can't just kind of transform this into, like, a tree, maybe coming in like tree to the right. Trying to, like, make it work without having to erase anything with all this pen workk, it's impossible to really get in a perfect looking scene. You just have to work with what happens. Okay? And we'll separate this out. There's like two sides here. And I'm just looking at the structure of the building and finding ways, essentially, to just separate out into smaller structures. So you can see this kind of just squares, bits and pieces in here. Actually there's actually three stories in here. I'm going to have to extend this extend this one out maybe a little further and close this one a bit more just to make it look more even. So I've got one, two, three, four, five, six. Okay, there we have it, so. And then at the base, there are some umbrellas, so you can see sort of this area there, and then you've got these kind of red umbrellas, one large one here, and there's, like, another one to the right, which are very characteristic of these European sort of scenes. The umbrellas. Okay. Yeah, sort of bit underneath that's going to be darker, we'll get that in afterwards. It's quite tricky to see what's going on. Sometimes I like to go into the image itself, brighten up the image, adjust the exposure, and that sometimes helps to, to sort of bring out a bit of the details. I'm just trying to Okay. Now, let's continue on. There's more bits and pieces here. There's a bit here sort of on the left side of the building. There is something here. There's a building in the background, and you've now got this interesting kind of building here that sort of the side of it is exposed here in the back. You can see the rooftop there. Okay, simplification of all this hatch the side of that building there. It's going to come down. And on the left, you've got all these kind of details which I'm going to just um, makeup, really, there of buildings running running to the left of this scene. Okay. Great. I actually made that building a lot larger at the back. Doesn't matter. Mm. There's also, like, a shadow that runs across the side of that building, as well. There's all kinds of details. You know, you've got a bike here just, like, next to this hole, okay? So indication of that. Let's get, like, a person maybe walking here. We have another person walking here. This photograph was taken kind of from a lower perspective. Okay, so let's go here and someone walking in to the scene, and maybe like, arm that Okay. There there's a person there. Great. And here in these sort of cafes, you can see that there are, like, tables, chairs, and kind of bits and pieces where people hang out. There's trees and stuff out the back there, as well. Okay. And the shadow just runs across the scene. But the road actually curves all the way to the right like this. So you can see it coming from a distance and curving to the right, and then you've got the other side of the pathway there. And then you've got the main road there. Okay. And yeah, all in the background, there's, like, other buildings and bits and pieces that we can sort of put in there as well. But again, it's not a huge deal. I'm just going to make some of this stuff up a little bit back there. Um, yeah, the details, little architectural details you can put in, just draw them in. Like the top of these doors, you can see, they have these kind of shapes like a triangle, and the ones like a semicircle, and then it goes back to, like, a semicircle here. All right. And the doors, not doors, the windows themselves, you can see some of them are kind of more open than others. So you can, like, play around with some of this stuff, hatch shade, that kind of thing. To create a bit more interest in this section here. Yeah. I just want to hatch this one out completely so that it looks darker. Here. I'll bit darker there again. Same sort of deal here. Okay. Great. Okay, Cafe. D on. Let's Zone. It's Okay. Beer. Just a bit of scribbling in there. And I think I'll actually put in a car here. There is no car actually in this scene, but I think putting one in is gonna help us. I'm going to draw something that resembles a car in the back a couple of wheels there. And there we have it. We have a car. This is going to help cast a bit of a shadow, shadow kind of shape as well, running to the right hand side of the scene. You know, maybe I could have another one here, just kind of trailing behind a bit, as well, not to mention some figures more figures. Anyway, someone there maybe have some smaller figures here in the back. Why not? Um, you know, here's another one, maybe all the way in the distance like that. And not even taking my hands off the paper, you know, sometimes you get people sort of sitting down at these tables and they maybe having a meal, that kind of thing. So you just want to indicate some of this stuff going on in the background. Okay? There's a lot of stuff going on in this restaurant, and so really, it's just this cafe. So really, I'm just indicating stuff going on back there. There's the stems of these umbrellas, maybe, like, I could make them more obvious. All right. Let's have a look. What else? Um, yeah, the bike I kind of lost out. So that could be the bike. There's a lot of these bikes in Amsterdam. Uh, let's have a look. Let's scribble in some more little details for this building here to the left. Not much needs to be done because it's all in the dark. Okay. And let's look up here, maybe some chimney type details. And we're ready to get painting. 8. Cafe Scene Painting: So I'm going to start with a bit of cerulean blue for the sky. And I'm cutting around all these buildings, okay? Just bring all this paint up through to the back. Okay, cut around the buildings because we want to make sure we've got some warmer paint for the buildings later. Okay. Cross like this, ul and blue. No fussed about how detailed it is or anything at the moment. We're just trying to get in skywhe nice skywah. That's all we want like that. Fantastic. Bring this down here as well. Great. Now, the building is actually white. So I don't think I'm going to touch that building at all. But you do see on some other parts of the scene that there are some kind of yellowish tinted buildings like this one here. Just add a bit of yellow back there, maybe a bit of white and yellow mixed together to get some kind of a warmer yellowy color back there, the rooftop, some brown mixed with red, perhaps, this Good. Trying to just mop this up a little bit so that it is lighter. Okay. Great. Let's have a look. What else do we have? I mean, really back there, it's just a mishmash of warmer colors. So I'm not fussed. Let's just put in some warmer values there and get back into that area again. Um, the side of this building is, again, kind of like a white, so I'm going to leave that really, for the most part. Okay. But yeah, I'm going to kind of indicate a shadow or something running along this building cast by the other these buildings here to the left. So yeah, just some more warm colors. All of this isn't going to be a big deal because, like, when we get the main values in afterwards, the darker values in, it's going to go over the top, okay? But yeah, warmth is important, I think. Or those buildings to the left. Okay, great. And let's have a look. What do we have here? You know, we really I'm just sort of thinking what we can do with any other details in here. I mean, there are some like the windows, you know, these little shadow bits we could potentially put in here because the paint really this area is all just white. So the shadows, I can drop in while I'm waiting for the other stuff to the left to dry. Like that. Yeah, it's the light source is coming from the top of the scene. Okay, so this is just a way to get in some indications these shadows, I suppose, the white building. Yep. And let's put in some nice red here. So vibrant red lease umbrellas. Check that out. Can't get better than that. Great. All right. Alright, let's have a look. What else do we have? To the left, maybe some small architectural details like the parts of the roof and what have you. Like that just darkened in areas like this, chimney, as well, like the So uh bits here. Yep, uh Here we go. Sometimes a smaller round brush can make a big difference as well if you want to detail. So this is really the smallest one I have in this little set, so I can play around with this. Okay. Helps to kind of get in these architectural details. I needs to be lighter, lighter. Yep. The thing with watercolor is that you have to remember this is a lot of just layering over the top of things, okay? So it doesn't look like much until you actually get in the rest of the layers. So, don't worry. Let's just continue with the process. That's the main thing. Continue with the process and trust that it will work out. Move this paint downwards now. I want to add in a bit of warmth to the ground. Just get a bit of yellowish color. Mix, maybe a bit of gray with it as well, like a warm gray value, something like that. Yeah, that should be fine. Maybe with a bit more purplish in color in there. Here's the mop brush where you need it. There you go. This just makes it so much easier. The mop brush covers a larger area. Okay. Okay, so everything has more or less dried off now, and we're going to start putting in a lot of these darker values. So I've got some purple. And I'm just mixing up a bit of purple and a bit of brown. This is one of my favorite purple brown and ultramarine blue, just like a favorite kind of shadow color, I suppose. And I reckon what I'll do is start here with this building to the left. Let's get in this one first. Okay. And it's probably about 30 or 40% water. The rest of it paints, so it's fairly thick sort of paint. And I've got a small round brush here for this. And what I'm going to do is also here, follow this kind of pattern here. You can see with the reference photo, the light kind of hitting the side of that building there. So put that in and then we're going to get the side of the building there, facing the right hand side there. So you kind of get a bit of light maybe showing through, peeking through like that. And these cars, as well, you really want to make sure you cut around those cars, and some of the figures here just make it look more interesting so that there's elements of light elements of shadow all throughout this scene. Even here in the back, you know, you might want to leave a little slither of light here and there, like showing through. But really, for the most part, it's just quie as you can see, like, really monotone, okay? And the figures here at the back as well, you know, same deal, just cut around them. Here's something that I want to just do with this scene. I want to put a sharper kind of shadow on the side of this building, presumably coming from the building to the left, okay? Like that. So it's just to create a bit more extra contrast, bit of extra darkness to this white kind of building, okay? So that's it, just a bit of something there. Mm and these cars, as well, are going to have some shadows underneath them like that. Um, now, in the reference, actually, there's, you can see the shadow just running alongside here. I'm going to do this for the car. But, um, as you can see, I'm just letting some of these figures show through a bit. But the legs of this figure here in the foreground, that's as you can see, I'm just putting in a bit of extra darkness to the legs and connecting those legs onto a shadow that's running towards the back like that. Okay, good. Might be another shadow coming in there. Um, great, great, great. I'm just sort of seeing what else could we possibly could we possibly do? I'm thinking I might actually soften something. Just soften this part of the shadow here for a second. Just want the roof to really show through more the light to show through that roof a bit more anyway. But I'm still preserving this sharp edge where I can you can redo bits and pieces in watercolors. Um, great. Let's go through here. Now, this is all pretty dark behind these figures. So, um, as you can see, I'm just going for it. Brown's bit of brown, bit of black back in this area. Okay. Purples. Well, this is going to bring out the light as well on the scene. The people here in the foreground walking. Okay? There we have it. Okay. I'm going to stop shy of that area maybe. And on the ground as well, this is where I'm just going to pick up some paint and drop it in. Now, this is the, I guess, trees, some loose tree shapes, you know, running in from the left hand side of the scene. So they don't have a very um, you know, defined edge. You get away with it. Good. And these figures, let's just I'm gonna join the legs on too. You got figures. It's really just a bit of darkness running through the scene. Um, there we go. Bit of that shadow running to the right again. Join onto the legs. This You can also grab color, like a bit of blue, for instance, and drop it in for details on the figures. Like this one, I just put in maybe some yellowy color that to make it look like there's someone walking around in the front. Simple there's a person there, but I'm going to make them kind of have a red shirt, and the one in front, I'll leave white. You've got these cars as well. I do think a bit of blue could help some something like that, double down that color of touch. Okay, good. And I'll just shape these the wheels and the bottoms of the cars a bit more with a bit of black paint. There we go, really bring out that shadow, extra bit of shadow for the figures. Really need to do this. So parts. Maybe a bit of extra darkness for some areas of these windows, here, here, you know, just bits and pieces here and there. Um, there maybe to the right side of the building. Right. And, of course, the little windows and things, you know, you can go over the top and indicate some windows, like the directionality of the buildings as well, like that. Um, let's have a look some windows here on the side, um, minor architectural details, I suppose. It's a great way to do this, to really sort of bring out bits and pieces. These windows, as well, they are so um obvious. And this building is, um I think I just need to I have to go in there and add in some more detail. So I just want to do it. Okay. And underneath the umbrellas as well here, maybe a touch of extra darkness in some spots. This whole area is pretty wet still, so I can go ahead and do that. And the black will just melt nicely in. Okay. You can do it here in the back and some other areas as well. Just be careful not to overdo it because you want to leave some of that previous wash in there as well. But it's almost like you, it's really just doing some really quick finishing marks. You know, there's even some architectural details that you might want to imply like this here. A bit of red maybe for the face. These figures, faces some hair. Cars kind of still look a bit abstract. I'm trying to bring them out to touch by outlining the backgrounds more, adding a bit more color behind these buildings. See, just a little bit of something here to bring out the buildings more layering really is the key to watercolors. Doesn't look like much until you've made it to the end, so trust in the process, and we are finished. 9. Gotland Sweden Drawing: Getting started with this drawing now, I want to make a really, really light pencil sketch because there's so much going on. So this is the ground here, and I'm putting it about maybe a quarter to a third of the way from the bottom of the page, probably about a third away, maybe a little bit less, actually, about a quarter, something like that. Okay. So we know the center of the scene here, we have this kind of house, and it goes up. I'm just going to put in the general proportions of it like that. And then we've got this other one that comes up here like that. And then that out like that. So this is pretty simplified. I just want to get the main shapes in and then we'll get the pen work. So, just make sure essentially that I have enough room. So just triangles, bits and pieces, really. I don't want to spend too much time in here, and, yeah, it's just a bit of tiny bit of detail, okay. Look at these objects as basically shapes. That's what you want to do. Don't look at them as buildings. Otherwise, you're going to get really confused. So the top of the roof, there's a triangle here, and then it comes down there in the back and then there's the side of the building. There. What else have you got here? There's this kind of yellow house thing over here in the background. Let's get that in, and there's like a rooftop. I think this actually should be enough for me to start going in with the main pen work. But I just wanted to start putting in something like this to begin with. So I've got a 0.5 hen here. And as a sketch, I'm really not concerned about all the minor details here and there. I think I'll start here. So let's go through here. Rooftop. And we've got a chimney of some sort here. Go to put that in side of the chimney there, kind of goes behind the building, and then you can see it sort of cuts down like this, okay? That's the chimney on top of the building. Pretty simple. It's also I don't know, some sort of structure on top here. It's like, circular almost. I don't know, cylindrical base sort of structure up the top there. That's fine. Let's continue on. And we've got another sort of chimney, like shape here. And again, this other object chimney there on top object on top of the chimney. Let's continue on to the right here. And right about here, you've got the building that comes down. So let's just get that side of it in here. So it's actually composed of two buildings, so you can see the split is roughly here. And we'll separate this out to one and building two here to the left. And it just comes down, hits the ground, round about here. The second one round about here. Let's get the side of the building in as well, like that. Then we've got this building here to the right. So there's the rooftop, there's the other section there that just sort of goes off into the distance. And here you've got bit a few bits and pieces. So you've got this kind of window here. So let's draw this in like that. There we've got some frames and bits and pieces which I will put in a bit later. But before that, let's just get in this other window to the right. Extended the size of the window a little bit as well, just so that I can get in maybe a bit more detail line over here. Okay, now this house actually comes all the way down It's a proper house. It's just like a front of a shop here in Gotland. And we're going to go and just put in some of these little shady bits here. These little shade areas, you can see, just kind of following the general structure of how it appears. There's a few kind of windows. There's a window here. There's a window here. Well, we got one here on the right hand side, as well, we've got a bunch of another, you know, a couple of windows here. How detail you want all this is up to you. I'm really just doing this quite quickly to put in the general bits and pieces that I see. And let's continue on. Now, this needs to go all the way to the ground. There are bits coming up in the front as well, like lamps and things like that, which I will get in a bit later. But for the time being, I'm not really worrying about any of this stuff at all. I do see there's some tables and bits and pieces here. It's not a huge deal, but there are some kind of vertical details. There are some trees here. So let's, you know, indicate some trees or something. Okay, so round about here is this tower in the background. I'm going to put this in here on the left side of the towel, let's get that in as well, roughly like this. Okay? There and it comes up like that. This section there, I mean, down. And let's draw this in. We've got this part of the towel kind of coming up like this. There's a bit here, and it sort of just goes up into this triangular, kind of pointy bit up the top, something like that, okay? Something like that. There's a couple of windows. We can also leave some of this stuff for later. We don't have to draw all of it in at the moment. You know, on the roof as well, you can see, there's just little details with line and wash. It's really up to you how much detail you want to put in to the bits and pieces here on the rooftops, okay? But yeah, there we go. I actually need to outline some parts of the roof roofs, as well. You can see near the gutters and bits and pieces. Actually thicker lines there, which have a have kind of effect on the style of the building. So yeah, I'll have to do that a bit later, but let's put in this shade or whatever here on the front of the building. And it looks like the front of a shop. You know, there's actually a ton of restaurants all kind of around here, but there's no one around at the time that I took this photo, it was off peak season. And so there was just really no tourists. There were a few places open here or there. Completely empty. But for some reason, they were mostly open, and you can see here that's like a door or whatever to the back. Okay? Again, this side of this building has a bunch of interesting windows, like features, so I can just kind of indicate some windows or something back there. It's not really a big deal, but there are these areas, I guess, that are fenced off a little bit, which I will just indicate. Okay. Something like something like that. Um, good. And let's see. What else can we do? Let's start over to the left hand side now, kind of where I was drawing in. So there was this building here. It comes in from the left. And then we have another kind of pointed building here. Okay. Again, you don't have to make this, um exactly as per the reference photo. I'm kind of just I'm kind of just deciding as I go. But I do really like how the rooftops of these buildings look. So I'm trying to get in some kind of resemblance there's another triangle here and a bit of, like, something to the right hand side like that. There is a window here underneath and a little bit here in the back. Um, little windows in there. Again, no big deal. Let's bring this down roughly about here and we're going to connect this up like this. And on how far do you want to go roughly about here. Okay. And then the side of this building comes down. I mean, there's a smaller building there in front and it's got like a side little bit that sticking out like that. In the front of this building, we have got like a shade here. There's another shade here to the left, and there is a let's have a look. What do we have? There is a hoops. Door in the center, so straw that in. Good. It's a door. And there's actually a dog out there the time. I don't know if it's still there the Opens photo. Might be. Maybe not. Yeah, I've been around the corner somewhere. Ah, shot there. There's all this, you know, mess and stuff out the front blocks and things like that. You don't have to draw any of these things in, okay. Just make sure roughly the door lines up with this door here. So I'm bring this down a little bit like that. That should do the trick. And these are kind of, like, windows, really. So I'm going to just extend these down a little bit, okay? Windows of this building. To the left, it's like, kind of another building. I don't know what that is, but there's, like, a gate or something here. You know, you just kind of make stuff up. I mean, these are just bicycles that are parked out in the front. They're all over the place. And there's so much going on that you could really get dragged into this mess and trying to identify everything here. But just a few circles like this and some stems and stuff sticking out. And you have maybe an impression of these bikes. I'm going to leave out all those blocks because I just don't like the look of them. I mean, yeah, now, this building here to the back just going to bring that down a little bit there. Okay, so that's the side of the building. That's another building here behind. I've kind of haven't drawn that one as nice as I would like, but that doesn't matter. There is this building here, kind of, like, a side of this building. And what's behind it, there's, like, another house like there, maybe, you know, another one here like that. There behind That's good. That sort of forms part of this whole building, actually, that runs like this, and then you comes down like this. Great. That's back in the distance there. Get this triangular bit on top of this building. There's also some windows there. There's a bunch of houses and chimneys that stick up here in the background. Look, just go to indicate some of this stuff, whatever it is. I'm not fussed about it, but just somewhere off in the back like that. Here are some other houses that I can also indicate there. Yep. It gets quite messy back here and to the point where you can't really make out what's happening. But that's the side of a building. And this here is another building that kind of goes behind, and it's got kind of like this point like that. There, let's have a look. What else do we have? We've got, like, another building here. I've got a bit too far there, but let's not worry. Okay. I tend to find that the more you go and try to correct the mistakes of bits and pieces, they just end up looking looking worse. So you kind of just have to accept it and move on. Okay, that back of that house there kind of goes back like that a touch. Okay, let's have a look at this building. Make this one go kind of a bit out there. Good. So just having a look. This building kind of looks a bit yeah, it looks a little bit out of place, but it should be okay. It should be okay. I just want to make sure that there is a kind of area that it recedes back and things look smaller there from the back. Alright, so I've got some other pens that I'm going to start messing around with now. Now, these pens, basically, they have a flat tip, flat tip pens, and they allow me to just get in another kind of another kind of shape running through all this sort of stuff. So here's what I mean. This area here is the rooftop, and you can see there is this kind of darker frame or whatever to the building. You can get that in. I think this one might be too. Well, this one might work. Let's try, say if I go here. Yeah, there we go. Thing with these pens is that, you know, you think they're running out of ink, and then you leave them for a little bit, and they kind of rejuvenate slightly for me to do another little drawing. But, you know, here you can see that's quite dark underneath and on the right here as well. So you can go in through using these sort of thicker And you don't need a thicker kind of pen, as well. You can just use a thinner pen and color it in. I'm just doing this because it's faster. Getting these frames or the windows in like that. Okay. There there's, you know, a little bit of railing or something on top of that, and there's a chimney that sticks out to the right hand side. Let's get that in. You know, let's let's detail a little bit more some of these frames again. That's like another flat tip pen that I have. Look, uh, and yeah, with pen and wash, you kind of you kind of just adding in details as you go. All right. And you're not thinking too much. Don't overthink it. Let the pen sort of glide a bit over the page and leave a bit of leave a bit of error in there, I suppose, because the last thing I want to do is draw everything in here 'cause this is gonna take me a really long time. Okay, but we can get in, I think, reasonable enough impression what is happening. These doors here in the back as well. They are quite dark. I can get in this door. Just a little little bit of something like that to the window, put in something there. What else do we have? The windows up the top here, actually, more detailed, and again, you can just sort of, uh, Add in a bit of that detail, if you want. Okay. Yeah. Alright, so there's sort of like little windows on the side, top of these buildings here. There's like something here, you know, this little part that sticks onto the roof. Um, yeah, the sides of these buildings have, like, a really nice sort of border. And so I'm trying to imply that along with the tiling of the roof by, you know, creating this sort of, as you can see here, this sort of jaggedy effect. And, um, yeah, I mean, really, I do have other pens as well. So if you want to, you know, if you get, like, a 0.1 pen or something like that, which is very, very very sort of thin nibbed pen, you can just sort of go over here and do the same thing on areas like this, look like for the indicating the tiles. Okay. And this is the easy way to do it rather than actually go in and draw each individual one. Even this pen is, I believe you almost be running out of running out of ink of a 0.2 should do similar sort of job. That's better like that. Okay. Well, because I don't want to sit here and draw every single tile in. I just want an impression, and you can do the same thing here as well. And the main thing I want to do is just imply the kind of bit of directionality with these tiles. So following the sort of perspective of the scene. Okay. Now, give a bit of texture to the buildings. Okay, let's have a look. What else do we have? We've got windows as well down the bottom. So let's put in some of these windows. Here, that's another window. This is like some type of tree. No problems. We'll just work that later, work on that later. Here again, there's, like, I don't know, some type of door on the side of the building. Plus, there's a lot of darkness around the edges, as well. So, look, I'm just adding in a little bit of something there. No big deal. And yeah, the side of this one, as well, gonna put in a few kind of windows. Okay, let's start getting into some of the details on the left hand side. And again, the rooftops here, there is a bit there. And, um, you know, also, it's kind of like the right hand side of the buildings, you can see, darker areas and just underneath the rooftops as well. There's this kind of darker sort of I guess lines that you can find throughout the scene. Alright. Yeah, I'm kind of thinking whether I want to make this one, that sort of tower a bit darker, but I think we should be okay. Little chimney or something there, perhaps. The thicker and thinner lines together are going to create more interest. So I just like to leave a good combination of them in there, and that's like a fence. Again, just making that fence go a little bit further up into the distance. Probably should use a smaller nibbed pen for this. Let's have a look front of this building. We've got something here, like, this kind of doorway, like that. Then there's a few little windows to the right side of the building. Let's start putting in this, the front of the house, like there, like that. What else do we have? You know, at this point, I look at the reference, and I'm just loosely sketching based on where the lights and the dark areas are in the scene. And it might seem a bit chaotic. But at this point where you have most of the form in here, it doesn't quite matter anymore. It's really just getting in some of these thicker lines and strangely enough, it helps to imply extra detail and shadows. Well, you know, in the front of this building, there's just things that I've forgotten to put on. So this, you know, had some air of the house here on the front, which I've forgotten to add on. So there's something here. Plus, there's a bit of shadow to the right side of it there, so I can add that in quickly. You know, bit of architectural detail like that. Another window, couple of windows there, and start putting in, like, the details of this building. Let's have a look at this one. There's another dark sort of section there, and underneath this building, there's a bit of darkness here. This shade has, like, a bit of darkness to the right. The light source is coming from the left hand side to the right. Remember that? And and for later. But, yeah, it kind of is important, even right now where I'm drawing and kind of adding in some of these shadows, like the shades you can see that has a bit of shadow to the right. With the windows and things like that, it's not necessary to really get in all the shadows for the windows straightaway underneath, but you can kind of like what I'm doing here. Just don't overdo it. Tall grass and there's there's toll grass and Okay, put that on. We got what else do we have? Is little signs and things that you can sort of add in, you know, in front of these restaurants and things. There's always like a signboard with specials and that sort of deal, maybe a sign sticking out the side of the side of it like that. And here we have, of course, this little bit that I really can't help doing, but this darker section here of the roof to the right side. A lot of this, though, we're going to get in with the watercolors. Like, you don't want to shade everything in this darker value because it's too much. It's this one here. That's another building. There's a couple I think there that could be the side of the building there. Some edges that I didn't define so well before, you know, I've started to add them in with a bit more detail and intentionality. And it's just embracing that sense of, hey, it's not gonna be perfect, but you're going to get the idea across that, you know, these are separate buildings. And they should at some level, at some level, represent what you are drawing from in your reference photo. You know, these are just little who knows what these are? They're just squares and things. There could be bins and stuff here on the street. I have no idea. But I'm just drawing some little shapes to keep things moving. This is another kind of chimney up the top there. There's actually two, so I can put one behind there, as well. There's a chimney here, a chimney here like that. What else do we have? There's a separator that's also darker, this part of the building that is darker, too, and all this kind of mess and who knows what going on down the base? So this is where I sort of start to be a bit more abstract. Okay, so for the most part, I think we have, you know, a decent sort of drawing. You know, I may have to make some of this stuff up because I went a bit too far this with that line there. But that's no big deal. I'm just seeing what else could be put in there. I think some people maybe some people walking through here because generally there would be people walking through here. It's just unusually quiet. And not to mention, there are some additional signs and stuff like that, not signs, but, um, but, yeah, basically, street lamps, that kind of thing. So let's have a look. Firstly, I think I might just put in a bit of the detailing for these rooftops. So that Okay. Pretty simple, yeah. I'm not I don't want to spend too much time doing this. A bit of hatching for the rooftops. And maybe here in the background, this could have some hatching, some downward strokes, some more downward strokes for this one, and perhaps a separating edge here like that. I don't know. That could be a bit much, but we'll be okay. Okay. Okay, let's let's have a look at what we have. Okay, so I do see there is some type of, like, street lamp here. It comes down like this, and then you can see it just goes all the way down. And noting, I'm not really measuring or doing anything too, you know, too precise here as well. There's something. I don't know what this is, but it looks like a funny kind of I don't know. It looks like a funny sort of pole in there, which I'll just maybe extend out to about here. Maybe I'll turn it into a lamp, another lamp as well. Maybe there could just be two lamps here. Why not? Just make it up. Um, Yeah, I don't know what this is. This is like some sort of, uh, something just next to the poles, I guess, the blocks people for people to sit on, okay. So I'm just gonna just an indication, something like that. Again, not a big deal. I also deciding the direction of the shadows. I think I'll have the shadows run, kind of, um, I'll have the shadows run a little bit towards the front right instead of running directly right to the front right indicating the lights, maybe coming from loop more of an angle so then I can create a bit of shade on that tower, as well. And some people. Let's get in some people. You know, we've got to find some areas that I can maybe put in ahead of a person. I could put in ahead of a person here, and this person can just sort of be in the foreground walking into the scene or even walking away, you know, maybe just a general figure like this. And, again, the shadow maybe I'm just indicating the shadow at run to the right. Again, I'm not really sure where to put the shadow, but I'm guessing for the time being, you can have some arms there kind of closer to the scene. So there's a bit more detail for this figure. Let's see what else could we do? We could maybe put a collar or something like that on this person. Um, great. When you move a bit further into the back, you're going to find that these people get smaller. So, you know, you can put a person like here and get this person sort of walking into the scene a little bit like this. Okay? Make them might actually probably be a little bigger than how I've drawn them like this, perhaps. They're kind of walking in to the scene again with a bit of shadow running to the right. We can have smaller people here just in the distance, like, again, simplify this down because I don't want to end up with a scene that's just filled with, um, you know, filled with the same looking people and also to detailed looking individuals as well. Here is maybe another opportunity where I can put someone walking to the left of the scene, leg coming out to the front and the leg here running to the back, okay? That's probably actually a little bit too close to the right hand side, but it doesn't matter. We can make do there maybe he's holding something like a briefcase or whatever like that. That's a person. I can have just a person standing in one spot here, you know, just a little person just standing in a stagnant in one spot as well. Okay. Let's just get the legs of this person in a bit better and this one as well. I find that as long as you get the legs in the rest of the figure tends to look okay just good. Now it's starting to really come to life. Starting to look like there's people walking around, like they're doing something. Maybe maybe there's a person here that's about to just head to the shops in front. And it's kind of difficult now to draw people because there is yeah, a lot of stuff in the background, but as you can see, I've kind of made do and drawing them in front. Okay, what else is there? Let's have a look? Is there anything else that we could put in there, maybe another another lamppost or something here, behind? Yeah, maybe another here. I don't know. Just something there, that could help cast a shadow and imply a bit of directionality. Okay, good. Let's get started now with the painting. 10. Gotland Sweden Painting: Starting off with the mop brush, what I want to do is basically get in some sky color. And I'm going to use a bit of cerulean blue mixed in with some grayish value or purplish value. Maybe just drop that into the sky. Now, I'm using a lot of water here, so it's mainly probably about 90% water. Okay? So I want to keep this really nice and fresh and light. And using this mop brush, as you can see, you can cut around lots of details and the buildings. So we don't want to go into the buildings. We want to sort of stop shy of the buildings, and that's going to allow us to get in the warmer colors. And this mop brush is a fine tip which allows me to cut nicely around the rooftops, as you can see. And if it goes into a bit of the rooftop, it's look don't panic, just continue on. As long as you leave most of them, you'll be okay. But there needs to be separation between the sky and the rooftops. So as you can see, I'm just going to cut around there, there, there, look what else moving down. Oops. Okay, let's continue to the right. Okay? So we've got the sky in for the most part. Now, just cleaning up a few little spots here, and then some people at this point like to add in, you know, some clouds, some darker shadows, that type of thing. You can do that by, say, picking up a bit of a bit of paint here on the palette and just, like, dropping it in like this, a bit of thicker paint, mind you, and this will just create a bit of extra darkness in some spots. You don't need to do this. And if you're new to it, probably don't worry about it. But yeah, just a bit of something in there, you don't need to. Depends on the type of mood you want to imply, as well. Now, I've got a larger round brush, and the rooftops here are kind of a burnt sienna color. So yeah, burnt Sienas like a reddish brown. That's about the right color I'm looking for, like this. Let's just go in. I'm going to just do this building to the right first, and light wash is why I'm using mostly just water in this mix again, 90% water cut around. Let's get this whole area in. Okay? The warm areas, basically, you want to just imply the nice amazing warm color showing through these rooftops. And do you remember that some of the buildings, like the right hand side of the buildings are pretty much white in color. So let's just remember to leave the white of the paper where where, you know, whereas necessary because you can't really recover that afterwards. Not so well anyway. You can play around with some guash, but it doesn't look so great. So, the right hand side of this building actually is a little bit darker. I'll figure that out later because what we're doing is we're painting the light first, so no stress. This building is maybe like a creamy color to it. I'm gonna pick up a bit of this creamier, white value you maybe put in some red. It's almost like a creamy sort of pink color, so let's just get that in. Don't have to do this either, but just something like that. Almost like a pasteli type color, okay? Notice how quickly I've done that. It's almost pretty much no time at all, okay? No time at all. You're not laboring over it. And this building here it's like a yellowy color. Let's pick up some yellow and drop that in. Not too vibrant, maybe like a yellow ochre. Like this, that should be fine. There we have it. Yeah. The first bit of yellow puddings probably a bit too much, but it doesn't matter. Let's just leave it and continue on. So there's a bit of yellow for this building as well. And it's actually more kind of pastel yellow color as well here. So let's drop that in. Yeah, right hand side is also kind of like a yellowy value, but it is darker, so I'm going to have to put that in afterwards. Same with this kind of part of the building, it's like, it's pastel yellow sort of color. So why not do it now at the same time, you know, considering that I've already got some paint mixed up, let's do this now. Get this out of the way. And let's have a look. That tower in the back is not completely white. It's kind of like an off white color. Let's see if I can get in a slight wash of that paint there. That looks better. Alright. And really, for the rest of it now, we're looking at burnt sienna. So we've got burnt Siena here. Yeah, the roof of this thing, oh. Kind of like a really nice kind of burnt color, like a reddish brown color here as well, let's get that one in. Like that. Um, here, as well. Um, this one here. That building like that. Let's get that one in the side of that building, this one, here, here, here. Yeah, well, this should actually be yellow, to be honest, like inside, but I'll do that in a moment there. That's actually quite dark. Doesn't matter. Let's just put that in. Anyway. And maybe in the distance, let's get some yellow ochre and just change the colors of these buildings to a more yellow ochre type color like that. And I'll most likely make this area a little bit darker in the back later on. But just a bit of slight darkness back there should be good to go. What else do we have? This rooftop is actually still also this color. I did have this where was it here, this area here that was maybe a bit yellowy in color. So, good. You end up for some reason why I do anyway, just end up missing little areas here and there, and don't panic when that happens. It's just part of the whole process when you're painting loosely. You know, what we want to do is, well, we want to get in some color for the ground. I've got some premixed gray, which is basically panes gray. Let's have a look. I want to make it maybe a bit warmer. Let's add in some yellow ochre to this pains gray to make it, like, a warmer sort of gray. Let's have a look how this appears. That's okay. That's okay. Maybe a bit more gray in there to dull it down. And I'm gonna go over the top of all these, um, you know, background areas there. Let's just go over all this stuff, blend it downwards down the page, that there. What would be better is actually using a mop brush. Miss mop brush. Yeah, bring that down there. Okay? This makes it a lot easier. This is the type of gray I'm kind of looking for, actually, a bit more neutral. But, yeah, I do want to I do like this kind of warm theme of this scene, so I want to be kind of faithful to that, as well. Okay, good. Now, one thing I like to do at the front of the scene is maybe pick up a bit of darker paint and drop this in at the front to create a bit of bit of slight bit of darkness here, okay? And another thing I sort of thought of doing is, yeah, just leaving it in maybe getting a slightly darker shadow, running across. Maybe it just will make the scene look a bit more interesting. There could be like other I don't know, another building or something running through, but still leaving a bit of light in the background there so that I can get in some of the details of the figures, the shadows of the figures. But yeah, bit of bit of darker, I guess, color at the bottom helps to create contrast and a bit of difference between foreground and the background, okay? So Great. Let's let this dry for a little bit. Okay, so here comes the fun bit. We're going to add in some shadows. You finish this all off and got a smaller round brush for this. And the way I mix up my shadow colors, I've got two ways or three ways, technically, I've got a bit of ultramarine blue, and I mix it in with some brown, so a bit of burnt tumber, raw umber, and the proportion of each basically dictate whether you get, like, a cooler cooler gray or a warmer gray. Now the thing you do is mix a red, yellow, and blue together. That gives you a gray as well. Or you can just use a pre mixed gray or a pre mixed purple, which I find can make really nice shadow color as well. But I know some people don't really like that purple color. So yeah, I'm going to mix up just a general gray value here, okay? And probably a bit warmer, slightly warmer gray. Let's see how we go. Now, the side of this building is actually it has, like, a softer shadow on that on that area. But, um, I think to keep it simple to keep it simple, we might just yeah, we might just use a darker gray. Okay, so this is just a bit of gray here. Let's drop this in, so this can be like the shadow part of the building, right? And it kind of goes behind that building there, so there's a bit of shadow. Proportion of water, probably 15% paint, you know, round that much. And like that. I do want there to be a significant kind of shadow, especially difference between the light and shadow on the buildings. Great. Now, again, I'm kind of making this stuff up because the shadow in the reference photo was different from this one. So that's the rooftop, bit of shadow there. Let's maybe get in a bit here, right side of this building, bit of shadow kind of the right here as well, of this building. You just have to be consistent with it and make sure that they all have shadows that fall in the same direction. Maybe this side there also is going to be in shadow. This one here must be consistent that rooftops. This area here has to have some shadow, you know, and this is this area here in the back that I was kind of unsure of what to do, but I'll darken a little bit like that, as well. Um, good, maybe a bit of shadow behind in there, too. Let's see. Is there anything in here? Maybe, maybe a bit of darkness around here, that sort of area. I do like this kind of softer shadow here in the foreground, but I don't know if we're gonna be able to keep all of that I might have to just go over the top of it later. This building here just gonna add in a bit of shadow to this side of it. Again, it's not in the reference, but um, but hopefully it will make sense once we're done. Yeah, maybe some soft soft shadow like there. I don't know. If you just leave that, that should be alright. Um, I reckon I'm gonna make some of the shadows of these buildings, like, come out towards the front a little bit, like this. Okay. This is a bit different from the reference, obviously, but Okay. There, I can get a darker shadow maybe moving like this the other side of the scene, the left side of the scene, something like that. Um kind of a bit more dramatic, as you can see, compared to the reference. But I I guess my hope here is to create more contrast, a bit of extra um sense of light and dark that was, I believe, kind of missing from the scene. 'cause it was a very overcast day. I only just managed to take this photo when the sun peaked out for a moment. And even then, it wasn't the best. Conditions. So often when you take these reference photos, you just have to put up with what you get. And here's the legs of this figure. Yeah, let's put in the legs. These usually put the legs in pretty dark, as you can see, to really just highlight the presence of those figures. Let's mix up this paint here and the shadow, again, in the same direction of the other you know, there's even some shadows for these I don't know, bits and pieces. I gonna miss that out, but that's okay. They all kind of have to fall within that same sort of direction, so you can see, for this to make sense. And there's a lot of, like, wet areas in here as well. So you're just doing what you can to try to get this to make sense. Okay, like that. I mean, this figure here is a little bit too much. I've put too much too much into the shadow, but, that's right. It will still work. Okay. This can maybe be darker shadow or something cast by another building out the back. Like, there maybe here, it's just a bit of Extra work. Okay? All right. So colors for the shirts and stuff. I'm gonna make this guy blue, a bit of blue there with the front of his shirt. Um, a person here on the right, maybe yellow or, like, a warmer value, something like that. I'm just picking up some random colors to add in for these figures, but you don't have to do too much with them really. I mean, it's just a bit of something. Okay? Some of these ones here in the back might help to add in a bit of color for the shirts to indicate where they are. But again, it's not really so necessary. Implying what's happening is enough like that. Red the face. Some of them anyway. Yeah, this one in the middle I might want to add in a touch of this teal color as well, something like that. Um, here, and then of course, here comes the windows, which you can leave as they are or, you know, put in a bit of blue. So parts. I'd like to do this I guess it might imply that the reflection from the sky, that kind of thing. Especially if you don't want to add in too much detail, bit of Imut in a bit of shadow up here for this chimney these two chimneys. Forgotten that a bit to the right hand side of that building. It's a bit of shadow underneath these areas and maybe underneath this rooftop, as well. This area here probably be under a touch of shadow as well, underneath this building. So you drop some color in there, a bit of darker color to make that look better, make more sense. A bit of extra detail for the legs of some of these figures here in the distance. I've kind of lost them before. So, yeah, it dried off a bit This allows me to just, um, put some of these in better. Okay, could simplify the shadows down a bit. There. Um good. Okay. And a bit of white guash to top this off with the kind of, you know, light running to the left side or a bit of light sort of hitting the left side of some of these figures and maybe buildings, that kind of thing. That's just dry that brush off. It's a bit much at the moment. Um Yep. But you can imply that, as you can see pretty well. You have to be quite sparing with this. But it just makes the figures in the back especially kind of pop out a bit more. Like that? Um, not to mention, maybe some of the buildings, like, might have a bit of sparkle or some kind of, you know, bit of light hitting the top of the buildings, that kind of thing there that you can just quickly imply, you know, bits and pieces here and there. Um you want to be careful with this so that you're not overdoing it as well. You know, some of these like bikes and things you might get something lit up a bit there in the corner there. And Another thing I might want to do is just add in some little guidelines. Maybe running through parts of the scene you know like this. Perspective lines. They're just simplified perspective lines. I don't want too much detail, but it makes the scene look a bit more three dimensional running towards the back. That Okay, it looks okay. Hair, maybe some of them. Not mandatory, but something 11. Helsinki Finland Drawing: Let's get started with this little sketch now. And firstly, I'm not going to go in with any type of background drawing. I'm just going to start putting in this area at the back of the buildings, and you can see there are these little triangles and bits and pieces or of market going on in the background. So I'm going to put this in roughly around here, just a few little triangles. Okay. And over here, we're going to start putting in these buildings. So to the right hand side, we know we have this sort of smaller building here with the side of it exposed there, and then you can see it just goes up further up here and we've got a building that goes a little bit further up to the top like this. Okay, so that should sort of disappear off. This is a side of a building and get in a bit of a detail like this. Okay. And I'm going to have a look. What else can we put in here? This kind of walkway that runs to the front of the scene, and there's a walkway here as well, kind of runs to the front. Like this. These little guiding lines are great. And I'm going to start putting in this building here to the left and it's really just tricky to place it exactly, but you can see the side of it there and we're going to go up and you can see a bit of this edge of the building here, and then it goes all the way up to the top of the scene, kind of disappears. That's the side of the building here. And this is all going to be in shadow, and it will cast a shadow there to the right hand side. But we know this kind of needs to go down a bit more sort of around here like that. And same with these buildings. Some of these just need to come out a little bit more like that. Okay, let's have a look. So split this building in half. There's a section like this running down the sides of the building here. You can see just these ones down the top as well. They become a bit more pronounced up the top. Um, there we go. This side of the building here. I've missed out a bit of the right hand side, but that's fine. Let's put in some windows, bits and pieces. Now, I do have some people just sort of walking around here. I'm going to put a bunch of figures just sort of walking from the scene here. And then there's also a couple of people walking to the front of the scene, there's one here. Maybe and maybe another person sort of again, leaning this way, walking that same kind of direction. There is also a car here, which I'm going to draw in. There is the light and the front part of the car, you know, the bonnet. And underneath here, there's a bit of the grill of the car like that. And let's get in this wheel. Yeah. Like that. And the top part of the car, which is this sun roof or whatever there. Let's get in the side window like this. There's a door, kind of a bit of a split there, and this car goes out of the scene. But actually, I should put in the back wheel here because I've left in actually a bit of space, left more space than the reference. So let's add in some little details with the wheels as well. So these you can see just these little darker spots in between the wheels, which we can indicate like this. Again, this is kind of like casting a shadow underneath. You see a bit of shadow underneath the car running to the right. Here in the background, we're going to put in this I believe it's a cathedral, so let's put this in here, this top part. Triangle, okay? You've got these pillars running down kind have this almost Roman type style and the stairs, just really run all the way up at a quite an impressive set of stairs here. And that's going with these pillars. Lo, I'm going to have to kind of make some of this up as well. I've changed the angle a little bit like that. This is part of it as well. A lot of this you're probably not going to be able to get in exactly. There's no point of trying to get this in exactly anyway, just doing a quick sketch, especially with this stuff here in the background and breaking down everything into smaller components. So this dome is a semicircle, top part of the dome there. Here, let's just outline this again like that and this runs across here. Loop straight maybe a bit higher there, and then I'm going to get in the second part of this and here you like that. And behind, we have this larger sort of dome on top, and I was actually under restoration at the time I took this photo. So you can see there's bits and pieces scaffolding, hanging off the building. And, of course, I'm not going to draw that in for this particular scene. I'm just going to pretend that it's not there. There is a dome up the top here as well, which I'll just get in little details like architectural details on the building that you can drawing, not necessary, but yeah, there we go. So we got that going in the background. And let's put in some of these windows here. And yeah, I've kind of simplified this building actually down a little bit. It should perhaps be a couple of buildings, but look, it's not a huge deal. Let's get in some of these windows running on this building here to the right. Let's get some more up the top here. You know, very simple. Loosely following the perspective. But I'm not by any means trying to get a huge level of accuracy in here. It's actually a person, a bunch of people behind this car. Let's maybe get in some people here who are not getting. So here as well in the background, just walking into the scene like that. Let's have a look. This building, you can see, there's all these little bricks and you can either draw them all in, which I'm not a big fan of. I'd just like to draw in a few here and there. There's a plaque here. Especially when we're doing sketches. It's really the last thing you want to do. There's tree a shrub or something there to the left. And, of course, the footpath, little bit of the details of the footpath, but really it's not, you don't need to indicate that at all. The perspective should just be enough to figure out what's going on. And small people just here in the background just popping in a few little people tiny people here in the background just standing around really just get their heads and their legs in, and you should be able to indicate a sort of scene like this. And there's all these little balconies and stuff, you know, hanging off these buildings. But again, simplification, drawing a few little bricks and things here. You know, that's really going to be enough actually holding the pen by the end, as well, which helps. And such a look. Here. And the top part like that. Fantastic. Let's get started. Actually, let's just finish a few of these off first. I'll sign here, we pop in a few of the windows here, I think that should be good for the drawing. 12. Helsinki Finland Painting: So a bit of color now, and I want to pick up a little bit of blue, and let's put that into this top of this building here in the back, just a tiny smidge of blue here. This is not ultramarine, but cerulean blue. The sky needs to actually be a lot darker than that, but that should be fine. And I'm going to continue downwards. Now, this building has kind of got a milky sort of color. So I'm going to mix a bit of yellow with white for some of this detail in the building. Okay? Just a touch of that. But I also leave, you know, amount of that white. I don't want too much in there. Okay. And let's have a look this building here to the right as well. It's kind of got a bit is bluish tinge here. And let's have a look. What else can we pop in here a bit of orange color for this building of some sort, like a warm color. I'm not fussed normally with these colors, you know, even a bit of brown as well as fine like that. I like to just get all this to mix together, a bit of yellow here, for instance, just to mix together. Okay. Pretty bit of yellow for this, um, the stairs that are running up there as well. Okay. The ground also is kind of like a bit of this yellowish value because, you know, it's a kind of warm day. I'm mixing a bit of the yellow with white to dull down the yellow a bit because I do feel like it's a bit too much at the moment. And it's also the same color as this building to the left. So let's just drop in a bit of that here. You can go to the edges if you want. Okay, something like that. Blend it along with the people carry this all the way into the ground, maybe up into the front of the scene as well, like that. Uh Okay. Great. This car is white, so I'm not going to do anything with the car. Really, I'm just using quite light washers here. Don't worry about how concentrated the pigment is. It's just going to be light, mostly water. All right. This is all kind of starting to be finalized a bit now in terms of the colors setting in. Now, on top of these domes, I would like to add in a little bit of extra darkness, a ton of a little bit of extra blue or some sort here. And this one as well, a bit of extra blue on top of the domes. This is going to help them, stand out a bit, come out of this um area. But I don't want it to be too dark as well, because it's these domes are still kind of in the light. And I think I'll pop in a bit of green here for this tree or shrub to the left. It's all using a mop brush, so really there's just not much detail at all. We're just layering, putting in a bit of paint. Okay, so into the sky, I'm going to start putting in some darker value a bit of ultramarine blue mixed with cerulean blue to get a kind of darker. There we go, like a darker kind of blue, but I still want it to have that sort of cerulean blue kind of look. So cutting around, and hopefully this area where the buildings are is starting to dry off, so we can get a sharper edge. But if it hasn't completely dried off, it's not a deal breaker as well. Just continue on. Okay? I think the big thing is these domes. You just really want to make sure you're cutting around them a bit. Let's cut around this building first, come down here this dome. It's cut around there, there. You can also just like leave a bit of white on the edges so that the water doesn't run through. Okay? But we do want the sky darker than the buildings have a look. Probably just wipe this area off. This should be kind of more white there in the background. Okay. While this is all sort of drying off, it's time to put in a bit of color for the car. For the car, I'm going to just do the simplest thing, really. I've got a bit of black and maybe blue, and I'm going to drop this in for the windows here. You can see. I'm using a smaller round brush here like this, a bit of black here for the window. On the front, the window is still black, but it's kind of a bit lighter, so I'm just going to put a bit more water in here. So that's the kind of windscreen. There's like, I don't know, sunroof or something like that there for the car. And underneath there's a bunch of little bits and pieces, this grill. And here we have the wheel of the car. Again, we're just indicating these darker spots that we had drawn earlier in pen, so just indicating those underneath the car. And, of course, this shadow that forms the basis of or creates the creates the shadow underneath, it needs to be around here. The shadow runs directly to the right, and of course, there's actually another shadow coming in from the left here of something else like another car maybe in the distance. I'm just going to put that in for fun. And of course, we have some of these figures which I'm going to use again, some of this darker value dropped in here for the feet, the legs there. There's another leg there, really just blue and black mixed together for this. Okay? And you're going to have to wait till the paint dries a bit before you do this. Even now, it's spreading a touch, but I'm not too concerned. I just want to get the legs some legs of these people in and I'm going to actually put in another wash over the top of all this, like a general shadow sort wash and yep, I just want to make sure I get this in first. These people actually should be lighter, maybe just take that off. Let's have a look. Good. Now, I think what we can do is start with some sort of shadows on the left side, and then we're going to move the shadows to the right hand side of the scene. So larger round brush, and I'm going to pick up some yellow. And what I'll do is just dull this down with some brown and black. Okay? I want to make a kind of test that out. That's probably not the right value Jess yet. Bit more brown here, maybe a bit more a little bit of blue, bit of ultramarine blue in here to to, uh, add a tiny bit more um, like kind of a combination between brown and blue, I guess, brown and blue. You'd be more blue. Yep. It's a bit of teal, I believe, here as well. Yep, that's fine. Look, all I want is just to make sure and highlight that there is some kind of shadow here on the right side. Okay? So, you know, having a bit of different colors in the shadow also helps makes it interesting. And see how I let the sky kind of blend into it, as well. A touch, you know, that's no big deal. Even just going more blue in general might help. Now, all these kind of bits and pieces in the background, you can see what you call these umbrellas and things like that in the background. I'm just going to leave them. Now, the general shadow on the ground, I'm going to make more bluish, and this is going to reach across the scene, kind of comes across here, and it's going to cover a lot of this stuff running to the right. But I'm going to leave the shirts of the people, some of them anyway, a bit, um touched, so that you've got some light coming through this area. It's quite difficult to imply this. Even the shadows of the people, we can start putting in a bit so that they run to the right side as well. The shadows here on the ground like this. Let's just bring this across. Looks. That's right. That's right. Great. Now, this is some kind shrub here and that's going to cause a create a bit of a shadow there running to the right as well. No big deal, something like this, maybe another abstract sort of shape. I think it helps to have some mystery shadows, I suppose, you can call them just running in sometimes from outside of the scene. I just helps to create a bit of extra contrast and imply there's something else there, really. So something like that, I think should be nice. Let's have a look. This building here is going to be in shadow. So this one here, pretty much the whole things in shadow. So let's just get that all in at once. Again, leaving out this the shirts of these people as well here in the background, that's going to help a touch and leaving some of the light on the building here. So it kind of looks like some of the building is in shadow. Some of the building has some light on it here. Down a bit more blue in here to just cool the shadow down a bit. These people here that I left out, I'm going to go a bit darker around them so that the bodies kind of stick out the shadows a little bit more like that. Okay. Again, let's just darken some of these wheels and areas underneath the car. You can just continue going on and re darkening areas where you see fit because yeah, it's at times you just need to really bring this out better. I'm going to put in a few little maybe some little guiding lines that run into the scene like this. Um, there we go, just to give a bit of um a little bit of, uh, directionality to all this. You've got some of these you see these tiny little bricks and things just in the ground. This is your opportunity to just pick up the brush and paint or draw or whatever you want to call it, put them in, essentially. I like to do what I did here on the side of that building. It's the same thing, but it helps to create a bit of a sense of detail in this scene where perhaps it wasn't so apparent before. Okay. And remember, this is a sketch, though. The whole thing, as long as when you look at it all in one go, it makes sense. You're gonna be absolutely fine. Um, let's see. Probably just I'm going to put in some details for this building here to the left. I don't want to ruin it as well, so you know, being a bit lighter, having a lighter touch in some of these areas would be good, like that. Underneath this building, there's a little shadow. You can see in areas, you can find some signs of shadows that again, imply the directionality of the light coming from the left. So that's like a bit of shadow there. Let's have a look Lee's pillars on the right side of the pillars, you can see, there's a bit of shadow forming on the right side of the pillars. It's very subtle and you have to be careful with this to make sure that you don't overdo it. To look right side of this also has some shadow. So just pick up a bit of something bit of shadow there, right side. Just like that. Pretty simple. The right side of the dome also has a tiny bit of shadow on top, like there. Pretty basic again. You might even want to do the same thing with these domes touch here, touch here. Okay. So finishing touches, I'm just going to pick up some really dark paint, and I'm going to pop in some details of the windows, and some of this will just really be dropped straight in. In here, it's like the darkest paint that I can find really. It's just black. You can use purples, that kind of thing. And I'm going to redo some of the legs of these figures as well here in the background. And there you can see just trying to get in some extra detail for the figures that are moving through the scene at the back. These ones here that are in the light, I might think, well, let's put in some blue or something to make these figures come out a little more in the foreground. I got a bit of blue here and for the other one, why not pick up some orange like that? Lighter like this. They just look more like people, I suppose, usually for the faces, I'll put a bit of red, but I don't think I have any red in here at the moment, maybe a bit of orange. Normally, I have a bit of red for this. That should be okay. Pinky color. And we're done. 13. Nordic House Drawing: Okay, let's get started with the drawing, and I can see the kind of road coming in from the back end here, which I'm going to put in, and you can see it kind of dips down here and then runs all the way to the right. Yeah, until you can't really see it. So, well, it's kind of like a thin a bit of gray there, I suppose. But this here, I suppose, is what you would call the I wouldn't say the horizon line, but kind of around there where you've got all the houses and what have you, you've got this house, which we can start drawing in now using this road as a bit of a guide. You see just the end here where that bush is. You can tell that there is a bit of this building to the running above. So I'm going to get that in. And let's go ahead like this. I do want to maybe exaggerate this building a bit more too. Let's see how we go. Um, Alright. And then here we can kind of maybe make the top of it there. Like that. Like that or round here anyway. And the base maybe here. And a lot of it is actually obscured by these trees. So really, there's not a huge amount we need to put in. Oops, kind of like that. It doesn't matter. It's gonna be covered by these trees anyway. All right. And I also want to put in the base roughly about here. I'm gonna straighten this out a little bit. The photos taken on a slight angle, fine, but for this scene, I think it might be looking better, if I straighten it out a bit and also work on this area so that I can see also the side of the house a bit more, okay? Maybe have, like, a bit of a tree here. You can shift things around in your actual scene. You know, don't have to stick with the status quo. Um, there's a windows. They're actually pretty wide, these windows that go kind of all the way like that. Alright let's get in these frames. Like that. I mean, there's actually all kinds of little details in there, but, um, we can simplify down this like six darker dots or whatever inside the windows, that should do fine. And the one below here as well, which is like this same kind of structure. And, uh there's more of like this Chris cross kind of thing going on. One, two, three, four, one, two, three, four, one, two, three, four, and one, two, three, four. There we go. That's how you get in some very quick quick little details on the windows. I mean, there's small bits on the house there and there, that kind of thing. And also, you can see on the building, there are these, like wooden boards running across. So I'm going to just try to indicate this. Okay. You can spend all day doing this, or you can do it quick like I am. Don't worry about it too much. Um, at the base of the house, there's actually some details there. There's like a bench or something, something like that. I don't know, something there. And there's a bit of a tree here. It runs down and kind of finishes roughly about here. There's other bushes and things like that nearby. Let's just get that in here. We can get this other tree in. So I'll put it a little further back, actually. Another tree here. There's all these extra additional trees and foliage and stuff back there. There's also a really large tree here in the front. It kind of finishes here. And of course, we actually have some other houses, let's get some of these in. So just rectangles. So I'm looking at rectangles, and I'm drawing those rectangles in. There's one house here that's kind of, like, got its rooftop there, then it comes down and it just sort of disappears off, I guess. To the left, where it's engulfed by all these additional trees. So again, I'm not worried about all that stuff. Um here, we've got more trees, okay? And I think what I want to do is also maybe put in a person. Let's put in a person or two, walking around here. Maybe they're moving forwards that way. Why not? Um, maybe another person here in the distance. Also walking around a couple of people, you know, so that it just looks like there's some life and maybe another one here, just a bit closer, head tilted forward and leg here, leg coming towards the back, so that we've got yeah, just a bit of extra detail. Now, the light is running from left to right, so a lot of the shadows are going to move towards the right. That's fine. It's a chimney here as well. On the rooftop. It's like a rectangle, and then on top, there's a smaller one like this there and actually, there is like a kind of tree line here in the back, I'm going to exaggerate a bit more. Here we go. Good. So now we should be able to get on with the painting. 14. Nordic House Painting: Okay, so a bit of yellow mixed with some of this White. And this is going to give me a slightly milky sort of yellow. And I want to, I want to get that in here for the building very light wash. And cutting around the frames of the windows as well. And also, yeah, that top part of the house, which is, as you can see, it's like, white. So we want to keep it nice and clean like that. Okay. Good. Of course, I've forgotten this one here in the background. That's like one there as well, and that's actually a bit of yellow behind it. This house, the left has kind of got like a milky milky sort of yellowy color to it there. Whereas the rest of them are just a, they do have a warm a bit of a warm color to them at the base. But other than that, I mean, they could almost be brown or something, as well. Okay, the rooftops, I'll just get in with some. Gray like this. It's a bit of a gray color. Okay, this should mix in and do something nice. Now, I'm just going to get in the road here with a bit of leftover gray paint, and it's kind of like a cooler gray color. Move that across to the right like that. Okay. And now let's mix green. So basically just yellow and blue together. I want to create a really vibrant looking green and quite light, as well. So that means I'm using more water than anything. Just squeeze out that paint there to the side. Okay, let's get this all in with hopefully one wash. I don't want to get in any of the darker details yet of the trees. All I want to do is just get in, like, a light wash and keep it like, fairly vibrant, as well. Fluid, and, you know, I'm actually mixing in some additional yellows into here so that it just appears brighter because afterwards, we'll go over the top, add in some more darkness. But for the time being, I really want lighter values. Oops. Let's just bring this down. Sounds like a vibrant, very vibrant yellowy green here. Just before everything starts to dry, I want to connect this all up nicely. In fact, this area out the back here is probably a darker green. But we can go over that later on. That's not a big deal. Okay. So more yellow down here. All right, a bit more yellow. Just to get in that beautiful light. And while this is drying off slightly, I'll just use this to quickly to get in a bit of the sky. This is some cerulean blue that I'll just add in at the top, bring this down. Into the trees and stuff, Let's just try not to disturb the trees too much, but a little bit of mixing will be fine, as well. Okay. Cut around the rooftop. Okay. Good. You can also maybe put in a bit of a cloud or something, some some little Clouds and larger ones up on the top of the scene. Here, while the paint is still drying, this is a great opportunity to just, I don't know, create some of these cloud effects. Don't have to do this. Right. So this is all doing its thing now and starting to dry. Down at the base, I'm going to start picking up some purples. I really like mixing purple over the top of this yellow because it creates a really nice contrast. And, you know, of course, I'll just also add in a bit of green. But see how it just mixes so beautifully. And, you know, I want to leave a section there as well. But, yeah, you can see it just running through this light. It's amazing light the quality of that light running through the scene, the base. Okay. Probably should go with a bit extra darkness here as well, in some areas of the base, like here, Okay. Okay, good. Now, this tree here, some of these trees anyway, you can see, they're actually pretty dark. So yeah, I'm gonna go and mix up some colors, darker values for some of these trees. Really just it's a blue and a yellow mixed together. And let's get ahead with these some of these trees. The right hand side of them anyway, you can see they have a fair bit of this darkness running through, okay? I'm going to cut over the top of some of those little houses and stuff as well. And here, let's try over this side now, just a bit of the darkness to the right hand side of these trees, leaving the left side kind of without much color in there. Good. I think this background and I just need to darken it a little as well. Needs to make the house pop more. There's an interesting kind of bloom effect happening down here, right? I'm gonna just leave that do its thing. You've got these people as well, walking around, and it would be good to add in some details for the feet. There's legs here. Maybe another one here just walking around in the foreground. Okay. Mm hmm. Mm hm. I can add in a bit of color. Sometimes some cerulean blue for the shirts. Kind of draws a bit of attention. Make that. Good. And of course, the shadow on the ground needs to be running to the right hand side slightly like this. Oops, more darkness. That shadow. Oops. Really just getting that consistent shadow pattern, light pattern for everything in the scene. So it's yeah, so that it looks consistent. And even the house there will have a shadow running behind it, like there, which I'm going to emphasize more though it's not really there like that. This shrub, as well, would have a bit of shadow to the right like this. Stuff running across the road, like little shadows running across the road like that. Um, plus this house would probably be a bit more subdued in color. Let me just put a bit of a gray over the top like that. There. The trick of watercolor is just leaving a bit of the previous wash in. That way you have a variety of different tones. This one here is, like, a bit darker. This tree on the right. So I'm going to get that in just with the leftover colors I have on the palette like this. Now, over the top of everything, you can see that there are these, like, real darker kind of trees and things which I want to emphasize get in. So here at the top of the scene as well, you can see, like, kind of branches and stuff, you know, coming across, coming down, that kind of thing. And you have some darker spots, of course. Um yeah, you have some darker just clumps of areas, but then you've also got some of these smaller patches, just peek through kind of thing. All right. So the round brush, thankfully, is the same shape as these leaves, you can see. So if you kind of press down and lift off like that, you can get in I don't know, somewhat leafy looking shapes like that. Okay. Try not to overdo it. But something like this, But they do need to be fairly dark to come forwards to make them come forward, is what I was trying to say. And, of course, you can join some of them up with these branches and that kind of thing, as well. Um, yeah, not a huge deal, but it's uh yeah, I almost as like a framing effect to this whole scene, you know, I've been extra darkness on this tree on the right hand side of that tree anyway, like that. This stuff here is should be dried, most of this in the foreground. And I do like how that shadow has turned out, the light and shadow. So here I'm just going to scratch off some of these bits of grass. You can see in the reference, there are these little kind of, like, bits of grass or whatever that cut through break through all this, um shadow almost adds a bit of sparkle and interest to the front of the scene, so I'm gonna get this going through. This is just a little effect that I like to use, especially to join up areas of light and dark. Here, you know, we can do some larger ones, maybe. Well, I don't want to overdo it. But the ones in the front should be a bit bigger, taller. And also try to make some of them go off on funny angles here and there, that make them all exactly the same. I can accidentally do that sometimes, and Yep. And that's just you don't find that in nature. So, yep. I out the back here or something, as well, like smaller ones. Okay, and I'm gonna call that one done. 15. Porvoo Finland Drawing: Alright, so let's get started with the drawing. And basically, I'm going to start around the back here where we see a bit of this path, and it kind of runs down here and kind of into this field. Okay, and it actually goes all the way towards the back there. It's obscured by this tree, which I'm going to draw in quickly. And there's also some trees here in the background. Alright? And they kind of, uh go all the way up, and there's quite a lot of detail in the branches and the leaves, that kind of thing. But I'm just going to put in a quick one like that just to get me started now. What we can see here in the main part of the scene is that you've got this kind of house right in the center, which I'm going to draw around about here, okay? So it's quite you can place it fairly easily because it's right in the center of the scene, okay? But we do need to take a bit of care in putting in the details. So that's the side of it there, there. And basically, you look kind of closely. There is this kind of triangular bit on top as well, so I want to bring this across so that we've got a kind of area for the rooftop. So this is the rooftop. And then in the center here, we have this part that sticks up, so it's kind of going up like this. Okay. And this goes up to, like, a point again up here there. So it's kind of like two sided, two sides on the left, two sides on the right, very, very very, very subtle. It's almost like a horse saddle, is what I was told. So here we have the rooftop, and I'm going to bring that across like this to the right. Okay. And I'll join this up to this left side, right side of the house here, and we're going to bring this down like that. Okay. And this is kind of like the side of the house. Okay. And actually goes all the way to the back. You can sort of see it run towards the back like that. And a lot of it's just obscured anyway, so there's not a whole lot that we need to put in there. But it's something like this, and you've got a couple of windows. There's a window here, window here. Maybe there's a window a couple of windows there in the back as well. Here, there's, like, a sort of balcony, so I'm going to just draw that in like a quick indication of one anyhow. And there is the kind of window or something here, door behind it. The frames like a bit darker so something like that. In fact, this is kind of this roof area here is a bit more three dimensional, so I'm going to add in a bit of that there. I've also forgotten to put on a couple of these chimneys, so why not just put a couple of them on like this, you know, to the top of the building like that, pretty basic. I do notice there are some these lines as well, running across the rooftop. So I will put some of these in like that. And underneath here, we have a kind of a line and another line running to the right. And underneath we have got a window. And here there's also another window. You know, in fact, this kind of smaller window structure up here can barely see it, but it's just like there. And yeah, I want to space these windows apart just enough. Okay. And of course, the frames come into play here, so I can indicate some of these frames, okay? I don't want to overdo it, but just simplify it down, so we've got some frames in. You know, underneath here, there seems to be, like, a shade or something, and then maybe like the door underneath. But there is a bit of this, I don't know, like a fence or something here. Uh, yeah, but it's running underneath the building like that and obscured by all these trees and bits and pieces. Now, the trees we don't need to worry too much about other than just getting in some of these branches, and that's more of just an indication for me because I'm going to actually put more of those in later with the watercolors. Okay. The main thing I want to get in is that house. Here in the front of the field, as well, there's really not much I need to do, as well. You know, there's, like, a power line that's running here. There's all these trees. There's another tree here. There's another tree running up here. Again, all this stuff can be done with the rigor brush. There is another building all the way in the back, but I don't want to get that one in. It's just I think it's going to look better this way. And maybe some trees there in the back. So yeah, let's have a look at it. It's looking good. I will get in some of these little wooden boards here on the side of the house, so you can see just running through, there are these like horizontal boards like that. And in fact, they kind of some of them run down the side of the house, as well, like that, as well. So I'm gonna get a few of these in like that. Okay. Good. Take a little step back. I think that's looking good. So 16. Porvoo Finland Painting: It's time to put in some color. So I'm gonna paint straight from my palette here, and I do have a bit of payer to on top, but other than that, it's not much. Mm hm. So the house I will get in with a kind of yellow, like, a yellow and white mix, okay? It's like a got a bit of white here in the palette so I'll use that. I like a milky white color. Yellowish, milky white. Okay? So I'm doing this first because I don't want to risk this turning to green later on. When you mix white titanium white into watercolor paint, as you can see, it kind of turns a bit opaque, which can be annoying if you want to get you know, all these lines showing through pretty decently. But yeah, there's still a level of transparency in there. That's fine. And here in the background as well. Okay, good. So that's the house. Now, the rooftop, I'm going to just use a cerulean blue or like a cooler color. You can even use like a lilac, okay? Just a cool color here. Might even mix in a bit of ultramarine in there as well, seeing what we can do here. Alright, chimney as well. Try to paint the top bit first. Luckily, this paper is flat. It's a hot press paper so that it dries fairly quickly. Otherwise, yeah, a lot of this blue can actually go downwards and bleed into the yellows. And if a little bit of that happens, it's fine. It's just that if you get too much of it happening, it then disturbs the the harmony of everything. So, you know, you see a bit of that happening here. I'm going to just lift off some of this paint because it's actually a bit lighter than what I've implied. This part is darker to the right like this subtle differences, um Okay, let's have a look. The windows, I think, could do with a bit of, like, a bluish tint running through them, as well, like some cooler tint that just to emphasize it's catching a bit of light from the sky, this little shade here at the bottom, as well, I'm just going to gray it down, put some color there to yep, just mute it a little and same with this kind of fence or what have you here at the bottom, just a bit of muted color. And it's probably kind of a bit purplish, which is fine. Now, let's go ahead with some of these colors in the background, and I reckon we can go with some muted, greens, perhaps. So I've got some blues and blues and yellows, which I'm going to mix together. Let's see. 'cause it's actually pretty muted down in the background. So yeah, I'm just going to get this all in okay. It's yellow and a bit of ultramarine blue, essentially, okay? Yellow ochre and ultramarine blue. So they're in the background like that. Okay. I should probably get the sky as well around the same time. I think it's just going to be easier to get a very light wash of kind of I don't know. It's definitely a cooler color, but it's also muted down a bit, so I can pick up a bit of gray and just mix that in my ultra with my cerulean, because it was a kind of overcast day. So yeah, just something like that really basic to get rid of the whites of the sky. And then, really the rest of this stuff can be done quite easily. Yeah, I do find that with line and wash, it's much more forgiving. And especially when you have areas of overlapping colors, it actually looks quite nice if it does overlap in areas and even dries unevenly. So I'm not concerned if it does mix and create some interesting blooms and that sort of stuff. So wet and wet here as well as fine. Good. So yeah, again, blues and yellows. I'm just mixing together for this kind of like a muted blues and yellows. Okay, behind the house, here, here in the bottom, it sort of gets a bit darker, and here in the background, all these trees are fairly dark, if you look at them. So there's a, you know, you can get them all in in just a quick sploge like that. And important thing is to cut around the rooftop like this, sides of the building, which will make the house like really pop out of this this scene. So Okay, a bit of a different, more vibrant green here. It's just a more yellowy mix of the green. And again, I'm just the reference photo doesn't have this here, but I'm just putting in a few more bits of green and shapes in the background to draw out the house a bit more, right? The top of that house. I just want that to really show through. Okay. So that's a little technique that I use. Alright. Now, as we move down to the bottom of the page, I'm going to pick up some just grayish value. And I used this for the sky before. So I'm going to just drop that in here for this path that runs and then sort of disappears down there. And actually, this is the path that goes into the foresty area. I actually had a walk from there and came down and found this little house. And there's a river further behind the scene, as well. So I will now get in thumb, let's have a look. We want, like, a more vibrant kind of green here. Lighter green like this. So I'm just going to place that underneath and hope this stuff mixes in a bit, okay? To the previous wash above. Some of the stuff I'm gonna have to darken as well. But that's okay like that. There we are. So I'm cutting around, again, this pathway, but a little bit of a little bit of it where it joins on and becomes sort of dissolves into the path as well is fine because it will just make it look more natural fine when you make too many sharp looking areas. It just starts looking too forced and your eyes are drawn to the sharp sharpness in certain areas where you almost don't want it to be. Okay? So yeah, overcast days are funny because, you know, it's difficult sometimes to place those shadows, those because you have to simplify everything down. Alright, continue this down. Just a mixture of a general green color. Okay. So I think a medium value. So not too light, not too dark, like a mid tone. Okay. So we've got, you know, this general washing, and here I like to maybe put in some nice wet and wet stuff. So I've got some leftover greens and things, and see how I can just flick the paint brush upwards and create a bit of a bit of something here, right? Just some vertical. And it just really helps to drain the scene up a touch because otherwise it looks a bit too one dimensional, alright? There's even this path you can just bring out a bit of the shape again. This separation here needs to be more more obvious as well. So here in the background with this this mixture. I'm just going to drop it in. It's like a darker mixture of green and brown. Again, I'm using just very muted values, another maybe another darker area here in front. Okay? Like this. You see there are some little marks and things which I'll add in like this. Watercolor is about building up the details. And here in the bottom of this fence of the house, as well. I don't know if it's a fence, but something here. All right? It's actually darker, so I need to imply that. Actually goes over to the right side of touch, as well. I don't know. It's like a fence or something. Yeah, but I'll let it blend in. Okay. So you can see here how you've got this really nice softness in some parts. And then in other parts, you've got more sharper brush strokes. And having this kind of duality is what makes the painting look more interesting. Now, small rigor brush here. I'm going to add in some details. For instance, all these trees and stuff at the back, and it's just black that I'm picking up for this now. So let's get in some of this stuff here. With the rigor brush, it makes it so much easier because all you need to do is hold the brush at the end, and you can imply these small details, especially near the top of the scene where the paper is dried. See how you can really just get in a few of these bits and pieces with the trees. Um you know, they're just verticals, really, and then they branches running around. You know, it doesn't have to be perfect. I mean, there's no way you can get this in perfectly, but just something to really create a bit of darkness and contrast in the background. Okay. The one here as well, this tree there. The, like in this, foresty sort of area down the back. Yeah. I was well. Los good. Maybe some little ones here or something. Yeah. Good. And I will pick up some leftover paint here on the palette, just some grayish colored paint. And I'm going to add in some little, like, subtle shadows. It's underneath the rooftops here. Kind of imagining the sun is coming straight from above. Okay? Just casting a little bit of a shadow. It's very subtle. I mean, in this particular scene, you can barely tell, to be honest, but, uh, Yep. I do think just some more like shrubs and stuff here, like some darker shrubs and here something here as well to just break this up a touch. The right looks fine. But just around, like, here, you can see, I don't know. I just helps to join up join this all up nicely. Yeah. It's this combination of sharpness and softness that makes a painting look interesting. Gray for some areas. Like underneath the rooftop, that should be a touch darker. Just small details. Again, this is, you know, just to add some finishing touches. Maybe a bit of something here, just a shrub coming into the house to the left and something here to join it to the scene a bit more because there's just a touch of it's sticking out too much for my liking. Okay? And quick little thing I like to do as well is to grab out a small pocket knife or, like, a credit card, something slightly sharp. And you can do this. You can scratch off some small verticals here at the base, and it kind of comes out as like a whitish color or basically like a lighter color. So this way you can get in some textures of the grass and things here at the base. Again, to create some different looking textures. You can even do it here in the back in some parts as well, not so necessary, but I think I think it's a nice little touch, especially in watercolors where you have sometimes difficulty in getting tiny details on. When you're focusing on bigger sort of washers, this helps. Okay, create a bit of dimensionality and interest just little tufts of grass and things here. I'll put some here, as well, why not? Great. And I would say that is finished. Mm. 17. Reykjavík, Iceland Drawing: Okay, so let's get started with this drawing. This is a city center of Reykjavík in Iceland, first thing I think we will do is separate this scene into half. I'm going to put a line roughly around here, very light line. A bit of a guiding line and then further down below, we've got the road here and there's a fence. I can see a white fence that's in the distance there and then it stops roughly about here. It's just a quick little thing that I'm going to anchor my scene to and you can see a couple of people maybe walking around the distance. I'm just going to put in a brief little scribble there for them. Okay. I think it's important at the start of your scene to anchor the horizon line and a few little objects around there, you've got these trees to get you started. There's a lot of stuff here in the distance. You've got houses. I can't even really see what's back there in the reference, but I'm going to just simplify this down and create some blocky looking buildings and things here in the background. I think the important thing as well, is to make sure that you have this building here on the right hand side. It's quite interesting building. You can see it's a rooftop comes all around here, like a triangular or rooftop. I'm not fussed about getting this in exactly as per the reference, but I want there to be some resemblance of what we're drawing. Also, the light is coming from the right hand side. Remember that? The top of that building there, it's got this chimney or something that's exposed. The left side is darker because of all the light coming from the right. There's a couple of windows there. There's a tree in front of it and I'm going to try to eliminate that tree, pretend that it's not there. Like that. There's maybe a couple of pillars or something here. I can't see exactly, but it seems to be a couple of pillars and then in front of the house, you've got this white wall and then there's all these shrubs and things around it. Let's get that in this right side here of the house, then it comes down here like that. And this part here, there's windows, doorway, I'll emphasize a bit more like that as well. Me some more windows here to the left. Something like that. I might put in indication of some little shrubs, whatever down there. Now, where these people walking, you can see, you've got a road that runs all the way out and then keeps going around about here. Then you've got this right hand side runs maybe about here and it runs to the right hand side, disappears off there and you've got shrubs and things. There's a tree I can put in there that a lot of this stuff we can just make up in a sense. Um and I like how there's a bit of a shadow here running along the footpath as well. I'm going to put in some indications of these, uh, bricks and things. Let's just roughly draw these in. You can see some little separations between some little separations, but I'm not going to try to indicate all of them enough, so you can see, just to indicate that uh directionality makes it look like there's more interest here in the footpath draws more attention to it. Especially here in the foreground, maybe just a few more little separations and what have you. It's not a necessary thing, but I do find it makes it look more interesting. All right. Got that house behind it, we've got these trees. So let's just draw these trees and there's one that goes up a bit higher like that. I'm going to just scribble in a top of that tree there, there. Um there are some other houses back in the distance like that, and we'll go up. This is the church, actually, all the way out in the distance. I'm going to emphasize this a little more. A little more than it actually appears in the reference. I'm going to make it taller, a little bit larger. I like that because I think it's such a integral part of this scene helps to identify what we're looking at, essentially. Something like that, there's a couple of the windows. We can just pencil this in. But again, I don't want to make it too obvious and too detailed because it has to fit in with everything else. Again, I'm just picking out a few houses, the rooftops and things here, that's sticking out in the distance like that. There you have a you know, this larger sort of building here, and then you've got another building to the right like that, and then the rooftop here. So let's just emphasize that. Then of course, you've got just all these trees and things. Might actually just draw like a tree here, this larger tree blocks the view of the side of this building, but you do have another one here as well. Just bring that downwards. And of course here you've got some other rooftops of buildings. And I'm going to emphasize some of this stuff, just suburban houses. Here in the background. We don't want too much detail there at all. Then you've got this road that comes in. Now, over here, let's have a quick look now. That's the fence. We should have maybe another tree here, the start of another tree here. Then you've got a car that's just along here in the distance. I'm going to put the windscreen in. The top of the car, then maybe let's get in the side of it, like, the front of it as well. A couple of lights, the bottom part of the car there, and then we're going to bring that back. We've got a wheel, another wheel here. There we go. We have a car. You have a car. There is a fence here plus the road curves in like that. Then you've got that fence that just runs along this bridge. There. I believe this is it's a lake or something nearby, maybe on the left or right. I can't remember. But, um, that's the railing, I suppose, then you've got the little patterns of the footpath, on the other side as well. So you can put that in a little bit of that detail anyway. Then you have this car here, which is just back facing here. Then you've got maybe part of the side of it showing and, really, it's just the back of it, so just get the bottom wheel in like that. Like that. I got a wheel down there, and I will hatch the windscreen in a bit, these two windscreens and just a little bit of darker color. We had these two figures here which I had forgotten about. I'm going to draw their legs in a bit more like that. I also do think that I should put in another figure here in the foreground, maybe just walking to the right. Yeah. I want to make it look like there is, something else going on. Maybe there's a couple of people that are just talking here. You know, who knows? A couple of people that are just talking here. We could be walking forward. I don't know. Um, a figure in the foreground, I suppose, and darken some of these areas a bit more. Let's have a look. I'm liking how this is looking in terms of the overall, uh, amount of detail. I don't think we really need that much more now. So, let's go ahead and get started with the painting. 18. Reykjavík, Iceland Painting: First things first, a bit of cerulean for the sky. I'm just picking up a large amount of cerulean blue, lots of water, probably about 60 to 70% water, and I'm going to just drag that all the way through the top like this and we'll bring this down. Around the houses and that and I'm going to cut around the rooftops using the mop brush. Great thing about these mop brushes is that they have a sharp tip, so you just can really cut around things while still preserving a nice wash Okay. Good, especially around this one here in the back, just go to be more careful. Great. That's our sky pretty much done. You can also add in clouds if you want. I do have some gray and stuff that I just maybe drop in indication of a cloud or something up the top. Who knows? Here, don't have to do this, but I just create a bit of extra interest here in the sky. As I move further down, I'm going to pick up some yellow. I'll just clean off the brush first, but I do have some yellow. This is like probably a little bit greenish actually because I' accidentally mixed in some green from the previous wash, I'm going to drop this in here a bit of yellow plus maybe gray to just dilute this down and make it a bit more um Oops. Yeah, just a little bit more duller. That's Let's just get in the right hand side as well. More yellow. Maybe a bit darker, some brown or something down at the base just to change it up a touch. But I still want it to be fairly light throughout most of this wash. Okay. Now I'm going to drop in some color for the background here, some green. I've got some blue and yellow. I'm going to mix this up blue and yellow here to create some greenish value in the background. Do have other greens as well that we can just drop in like this. I'm just going to cut around some of these houses and stuff and get it to also blend in a bit with everything else. Well, you see the figures here though, I'm just cutting around them a touch and leaving the white on this house to the right as well. But you do get, as you can see, these trees here on the right, which I can just add in a little bit of light, but also remember that these are going to be they're going to be casting shadows to the left. Here we've got some other trees and all that here in the background. They're a bit darker, the Now, what else do we have? These ones are a bit darker as well. These trees here. I drop in a bit of that moving here. Get an indication of that fence maybe coming in, bit of black as well, maybe a bit of darkness in the distance here to bring out the cars more and the people. Good. Great. Now, smaller round brush. I'm going to just put in some details for the buildings at the back a bit of yellow there for this building. So it's a church, actually, like that. Something like that. This house is fine. I don't need to really touch that, but we do see some brownish color on the rooftop there, brownish grayish color. Whatever it is, it's just an indication that what else do it? It's an earthen value in some areas, putting that in in some spots, and uh, have a look. A lot of this stuff it's just really abstract. This on the left hand side of the church, you can see it's the darker, so we need to really imply that. It goes all the way up to the top there. I want to let that melt in slightly back there as well. I'll carry some of this darker values well down. I can indicate perhaps rooftops and things out there as well. The trick of watercolors is that you just got to let it do its thing at times. I lost the will to try to control everything. And when you do that, it tends to actually work out better. You give up a degree of control and realize that some of these effects just look amazing if you let them let them do its thing. This area here's probably a bit of darkness there behind that building behind that. Could be I don't know, another tree or something here. Tree here, darker house. Who knows what that is. But again, just leaving the white in there to indicate maybe those houses back in the distance. Okay. Let's put in the feet, the legs of this figure, walking to the front, and then you might have this other one here. It's kind of walking. God knows, but there might be just talking, just implying some life or whatever going on. And of course, we have these uh, trees and what have you. I'm going to pick up a bit of purple and blue and mix this into this whole equation here. You can see there's a bit of shadow coming from that right side running to the left, and it goes all the way back there as you can see. I'm just going to go nuts with this and try to get in this indication of all these shadows, hopefully in just a few little strokes like this. They join up in parts as well. Because the paper is wet, you can actually get some amazing little soft shadows running through as well like this. I am mixing up just a bit of darker purple for this and here as well, you can get some running in there here in the background. This car will have some shadow running underneath as well like that. This one, too. Bit a shadow to the left. Okay. In the background, you might have some shadow there as well, some little lines running through. Try not to control everything, let it do its thing. Windscreens here. And this car want these windscreens to be a little darker like that and maybe a bit of the detailing on the car as well. Okay. R preserving the light on the right hand side of the car is important and also getting in this indication of the wheels and the darkness underneath the car. It's very important. Helps to anchor everything down the important subjects in this scene. Of course, you have this house here in the background. I quite like this house, but it does need some little detailing these windows and such, something like that. The black is for me, I like to use black to just bring out some stark contrasts in all this road, a bit more of the road perhaps like that. Let it run. Let the colors run and do its thing. Okay. Now, some finishing touches on the people now. But you get some little windows up there. It's probably a bit too early. I think it looks like windows. Basically, I want to put in some blue maybe, clean something to just give the figure a bit of color. I've got some of this cerulean blue, maybe pop a bit of white in there as well to just change it up a touch. No. It could be a person and then you've got another person here to the right. I'm going to put in a bit of yellow for this figure, maybe some orange. Why not? Just a touch of orange for that figure standing there. These two figures here in the background, I don't think I'm going to bother too much, just leave that in like that. But I will get a bit of red or something just for their faces, something here. Just a warm color is fine. I've mixed all my colors up so that you can't really tell. At this point, you sort of you don't really care too much about the exact colors. As long as you have an indication of warmth and warm and light colors, you should be fine. A bit of maybe darkness with the hair or what have you just to make them come out better like that. Again, a bit of messing around with the legs again because these ones are quite close to the front of the scene. I just have to tidy up the legs a little bit. It's still pretty abstract, but that's no big deal. Maybe this person's carrying a bag or something here, I can just indicate something like a shoulder strap like this, or this one could have a bag, like a shoulder strap. We're done. 19. Stockholm Drawing: Okay, let's get started with the drawing for this one. And I'm going to start roughly at the maybe one quarter mark of the scene about here, and I'm going to draw a line running across. This is going to be the water line and also where the footpath kind of trails off into the distance. And one thing I am undecided on at the moment is whether or to put this big fence here. It looks a little bit ugly. So I'm thinking I might actually exclude it and perhaps extend out this path a little bit further to the left like that. Okay, so there we go. It kind of disappears off into the distance. Now we can start scribbling in a few bits of details. Now, over here, we have a kind of large ship to the left. I'm going to just pens, draw in a few little bits and pieces of the ship and details there. I mean, in the back, it's really quite difficult to see exactly what is going on there. There might be another ship back there. I'm not exactly sure, but I'm going to just make it up, as they say. And as we move over to the right, we're going to get this kind of area here. This is a walkway, so it's just runs right next to the water. Okay? And then you've got this kind of little island area here, which funny enough, it's interesting these little umbrellas here, colored umbrellas, and I can just draw in some triangles here to signify this. Where do I you know, why am I putting it here? Well, basically, this is where the path finishes about there, so I'm using that as a kind of anchor. So really, the main line that you put in and and the general path, I think, is super important because it helps to really give an indication of where everything else should be. Now, here we have got the uh, Sdsset and I'm just putting this in and put that in there. It's like this tower in the distance. And I'm going to sort of draw the top of the tower, as well, while I'm here, okay? And notice how I'm really not spending a heap of time doing this yet. It's just enough to indicate something there, and we're going to move on. There's actually a tree, a kind of funny tree there. There is now over here, like a side of a building, I believe, here. Rectangular on the side of a building running down that drone it a little bit too big, but that doesn't matter. We can kind of make dow. Around the top, we have got another building. I mean, there's so many these tiny sort of buildings that run, you know, next to other buildings and there's shadows and stuff like that there. So, you know, the main thing I'm trying to do is just simplify this down. And let's put this in kind of rooftop sort of thing there. Okay, here, that comes down like this. You've got, like, a right side of that building, maybe. I'm going to just indicate it a little bit more. You know. All I'm doing is just picking out shapes and drawing in those shapes and trying not to kind of go over previous parts again, and you can see the windows. Look at that. I'm just simplifying these windows down with, like, kind of square shapes or just a single line as well, should also do it. Get that tree or something there. There's some more stuff here in, like, behind. There's another building here in the distance. Again, it's something that you don't need to think about too much because it's quite far back in the distance. You might have some bits and pieces there, like a couple of little portholes or something there. Alright, now here comes the big building, and we Oh, I'm going to make it maybe this wide. I might have to extend it over to that side 'cause I've made the path a little to the left. I wanted to make it larger so that we can get the people in with more detail. Okay? So here is one kind of part of the building there. I was. But and I'm going to just put in the little details like the top part just underneath the roof. Here. Good. Draw the building in kind of segments. This is the only way to do it. You know, there's that rectangular bit there. Then on top, we have the dome like this. Whoops. That's fine. Again, it's not meant to be perfect, just a sketch. And coming across like this and down here. Okay? Yeah, we have it. And then behind, I think this might be I'm not sure what it is. It might be a church or something. It looks quite I don't remember the name of this building, but as you can see, it just sort of sticks out behind like that. Doesn't require much detailing. At all, this is going to be kind of darker. So, just some chimneys on top here, and, you know, you've got little bits, you know, on the side of the buildings that you can maybe put in. What else do we have? Good. Let's have a look. Down here, we have got a bunch of windows, so one, two, three, four, five, six, maybe. Who knows? I'm just going to put in some real basic indications. This is, again, one of those things that if you could spend all day doing and stress yourself out. So I'm just trying to simplify this as much as I can, okay? Maybe just put in a few lines like that for the windows. I don't want to make this a huge deal, okay? And let's get the top of these bits in these, uh, domes. That's. That's Okay. It's a great kind of practice to sort of play around with these shapes, drawing these shapes without much fiddling around, I suppose. And sometimes you can do this, as well, like a bit of hatching. So a downward a downward line like this to make an area darker, like the roof. Remind myself, you know, I could do it for this one, as well. This one here. You know, even for this building here in the back, I can hatch sideways a touch like this, and that would help as well. That's it. Alright, let's move on to the right side here, we're going to just draw the side of this building, and it's all kind of in the darkness, so there's not much you really need to do here, put in the side of that building there. You know, that is definitely some sort of side there. And then you've got, like, the rooftops, like that. And that is really about it. I mean, everything else in there is pretty dark, so I can kind of just wing that later and get in some more uh, yes, some more sort of bits and pieces and details and darkness. For the shadows, you can put in maybe indications of windows like that. Um, that separator areas can help with the buildings, too. Okay. Oh, so here comes the fun bit. I'm gonna start putting in, like, the people. And, uh, firstly, let's just start roughly here. We might have this person here in the foreground that's just walking right into the scene. And, um, it looks like she's kind of holding some tote bag here, which I can indicate. A little tote bag and legs, leg forwards and maybe one leg going backwards like that. Okay? And we can now just start putting in some other people. So here's maybe some other person here in the distance. I'm going to just put in some outlines of bodies and go pretty kind of loose with this, as well. I don't want to spend all day doing this, but at the same time, you know, having some difference in the figures as well helps. See, I'm just going to get one moving here, maybe got one standing still here. Maybe there's one, just kind of looking over the edge of the water like that. Okay. And more of these umbrellas, I want to make some more. There's actually quite a few of these. And people actually just hang out and sit under these umbrellas and, I guess, enjoy the bit of fresh air over here. And I'm going to go and put in some of these trees. Now, I've decided I'm not going to put in this fence. I don't like that fence. It's a bit annoying. I don't know. Yeah, I could put it in, but I'm just sort of thinking for a moment, is it going to obstruct the sky? Could do. Um, yeah, so tell you what. I'll just leave it for the time being. You can see here there is kind of a light lamp post there. So I can draw that in and then get a bit smaller as you go into the distance. You see that round kind of B sort of thingamo on the top like that helps to indicate helps to indicate perspective in this scene. I think of putting in some more perspective lines. Let's just see how we go. Okay. And the shadow is running to the right hand side, which we'll do later on with the people, okay? For the time being, I'm just going to get in some very basic sort of figures, people, I guess, walking walking around, maybe some smaller ones. It's getting some smaller people here in the back or something. Okay. I want it to be probably a bit more crowded, looking a bit more crowded than the reference photo. Why not? Okay. I think that should be good for a drawing. 20. Stockholm Painting: Okay. I'm going to grab a mop brush. You can use a large round brush as well. That's not a big deal, but a mop brush just tends to pick up a lot more water. And let's go into the sky. Gonna just add this cerulean blue with a touch of water. Okay, let's bring that Oh, the way to the top of the scene here. Bring it down. I want this to be a really nice sort of nice sort of day with yeah, just a nice fine day. So, let's see. I'll go right to the edges. Now, haven't take this paper down or anything like that. With line and wash, I don't even bother. Easy to just easier to just paint directly on. And if the paint warps or moves the page around a little bit, it doesn't make a huge difference because you can still see a lot of this linework running through. The structure of it will remain. So yeah, let's just cut around this building now. And again, more ultra not ultramarine blue, but cerulean blue. Though you can use ultramarine blue for this, if you want. A lot of it's just mostly water. Okay, great. Okay, so that's the sky sort of done. And some people like to put in, like, clouds like maybe, like, a darker cloud or something running across in areas. It's, you know, this is what I'm doing now just to show you the effect, but we don't have to actually yeah, we don't actually have to do that if we don't want to. Okay. Moving down further, let's put in a base wash for the building. So I'm going to grab myself, and you can see the paper start to warp a bit, which is why some people really like to tape everything down, even with line and wash. I definitely tape it down when I'm painting, you know, just a normal watercolor painting with no pen because I do apply paint in a more in a much more sort of thicker way and using more water, but we should be able to get away with it here. So this is a bit of brown, a bit of yellow mixed in with the touch of brown. Okay. I just want to create some warmth here on the side of this building. Okay? Whatever it is, it's just a warm color. Yeah, just a warm ish sort of color, okay? And I've even put in a little white in there, as well. Why not? And let's continue pretty much this entire building. This one as well is kind of warmer there, so I can drop in a bit of that color. And you want to use a lot of water here to make the the building appear lighter. So lots of water. We'll go over the right side as well, 'cause it's most likely the same color, but we'll actually add in another shadow underneath afterwards. There we go underneath the umbrellas, cut around the umbrellas a little bit. And what have we got here? This building is like a kind of it's almost white. We'll use a bit of this off white color white there. Okay, bit of that there as well. Let's have a look at this one. Again, it's kind of. And let's have a look. Put in a bit of this brownish color here. Yeah. And, um, same for this over the building. Okay. Remember, this is just the lighter value, so you're using a fair bit of water in this mix. Okay? And what I'll do is also add in a bit of green or that's not green. Where is it? It's the bottom here, so a little bit of greenish value. Kind of sort of sort of mix it yourself as well. In here, I want it to be a bit dull, not too not too much vibrancy. Okay. So I'm kind of using maybe a bit of yellow ochre and a bit of cerulan blue for this. Tu muted green. Let's put that in here as well for this tree. There's some trees in the background. It just needs to be darker, little darker. Okay. Why not? There we go. This is a tree as well in front or something like that. Add in some more of this There we go. Good. Um, well, I forgotten this one. Yeah. This is a tree, as well. Put that in. Yeah. Okay. Good. I mean, there's some smaller ones here in front of the buildings as well. I don't know, put them in like that, too. Okay, now, let's start doing the ground, and it's, like, a grayish value, and I'll probably just use whatever neutral color I have left on the palette which is really just a lot of, yeah, just all the other colors mixed together. So that's why I never clean my palette. I just use all that stuff that's left over to to, um, mix up a gray. This is a little purplish, actually, but it doesn't matter. It's like, use did mix up a purple from a previous painting. Let's go across. Probably the mop brush is gonna be easier. Okay, good. Just needs to be fairly light. So that the sun it looks like the sunlight popping out. The sky. Okay, now, down here, we have a bunch of colors for the water. It's kind of like a teal color in some parts, but in other parts, it's just really kind of darker ultramarine blue. Um, I should have done this before, but there is a little ledge here that could do with maybe a lighter color. Yeah, maybe a bit late. Doesn't matter. We continue and continue down like this. This is a bit of cerulean blue to match the sky. Okay, so I'm just dropping that in here to the base. Using mop brush is actually easier. Sizing is a little bit funny on this paper, as you can see. Sometimes you get watercolor paper that just isn't sized properly in part, so it's a bit blotchy, but I'm going to continue on. Anyhow, that's no big deal. Let's pick up some other kind of blues and drop that in like this, see? And that's going to increase that extra darkness and add some more interest here. The water Okay, needs to be fairly dark. In fact, it needs to pretty much be almost the darkest section of the painting besides some of the shadows on the buildings. So grab bit of purple, as well. A bit of purple is gonna really create some more these wave like effects, okay? And it's all wet into wet, so you can see everything's just sort of blending together, which is good. All right. Now, at this stage, the buildings should hopefully be dried by now or mostly dried, so I can pick up a smaller round brush. And we can put in the darker sort of details now. So I've got, like, some purple, I've got some blue and maybe a bit of a bit of brown that all mixed together. And this will create a nice sort of shadow color start over this side side of that building? Let's Is that dark enough? Maybe. Um, Okay. Good sharper edge like that. There's some darker bits behind there behind the boat here as well, you see, you got to go up to the top of this tower. Good. Okay. Good. Alright, let's have a look. The rooftops. I'm going to just dilute this down a little bit. The rooftops are darker, so you can see, so I'm going to just get in a bit of that darker color. Yeah. The right side of the buildings there as well. Great. And the top parts of this building need to be darker, as well. So let's just get some of that color in. Here. And I've forgotten to put in some brown for the left side here, so let's just do that bit of brownie color. Like that's not a big deal. Um, it's still pretty dark on top, anyhow. Move that down the page. What else do we have? Okay, let's, um, put some of this stuff here. Okay, and this right hand side of the building, this is where it's all under shadow. So using a fair bit of purple here and just mixing it in you know, you can leave in a little bit of light to peek through in areas, but other than that, I wouldn't bother much with it, let it be completely dark behind that area to just highlight the shadow. Okay, there's these windows, and, you know, here we go. We can just sort of, with the brush, as you can see, just indicate some architectural details for the windows, like linework, bits and pieces here and there. Be a bit of brown at the top. Okay. These little chimneys like that. Alright. Let's have a look what else do we have? Um, yeah, I'm just sort of dabbing in a bit of this darker paint here and there. And I've noticed, like, kind of near the edge of the water, you can see where that ledge is maybe a bit of darkness back there, as well. This boat might have some wavy sort of bits and pieces going through. Not only that, you do get some sharper waves here and there, so I can just drop in a bit of see just a few marks like that to add in a bit of texture. Okay. Mm, add in a bit of this brown here near the ledge, where the path is. Okay, and as, uh, yeah, you can see there's some water that's sort of spilled over in parts. So I can, kind of indicate this in areas, I guess. But Okay. Okay, let's have a look at this, umbrella, maybe some red or orange. There we go. Something interesting. What else can we put in? Yeah, I'm thinking more kind of bright colors and bright warm colors for some of these because we don't really have too many in there anyhow. The people, same sort of deal. We can put in, like, a bit of blue for this one, a bit of orange or something like that for that one. Just some interesting colors. And some of them you can just leave white, even if you want to kind of portray a white shirt sort of thing that maybe a bit of gouache or just, like, white, titanium white paint. That helps as well. Um, let's have a look. Right? Might extend down this tree a little bit, maybe this one here at the front. Um, yeah, having maybe one a bit closer. Um, yeah. I know it's not in the reference, but I'm just making this one up. Mm. Good. Now, the shadows, I'm going to just start putting in their legs like the best figures. We can blend them in, create a bit of interest for the legs. That you know, join them onto the bodies. That's the front leg here, then the back leg there. Great. And contrasted against the ground, you'll notice that there's a lot of light. It appears that there's some kind of light. So now I can just sort of do this. I can say shadow running to the right like that, like this. Might sort of have it go off on a slight angle as well, like this. Sometimes I find it just looks a bit more interesting if you do that may be another shadow of a person in front that's casting a bit of, that's Finishing touches. I mean, we're pretty much done. This is just anything that you might want to add on. Quite honestly, I don't see too much. There's some parts I missed out. Maybe this side of the building could have been darker. Um, apart from that, yeah, it's really just bonus stuff. I mean, you can just pick up the brush and start putting in little details and bits of linework and stuff like that. Rooftop here. There you go. This boat probably could do with a bit of shadow to the right of it. And a touch of red paint for some of the heads of these people, sort of, put some in like that. And I can also just grab some color drop that in, put the hair. Some of these people. And we're done. 21. Swedish House Drawing: And I'm going to draw a line roughly around here. I don't want to leave too much room at the front just enough so that I can get in some of these shrubs and things like that here. Okay. The house is the main attraction of this whole scene, so let's get in the bottom part of it first. So I think the simple thing is to just basically separate it into two portions. So we've got the well, well, basically, the rooftop and the bottom part of the house. So get in both sides like this. And there's a fair bit of foliage, trees, things like that around, as well. But, yeah, we want to make sure we get this one right. Now, there is a balcony here. And I'm going to just really lightly pencil in the rectangular structure of it like that. Then up the top here, start adding in a few details here. Okay, good. Like that. Just the rooftop. And yeah, the main roof of this whole building sort of comes out like this on the back. And then, um again to the top area like this. So let's get this in. Okay. And, draw this line kind of running across roughly here. This roof is made up of two parts. As you can see, it's sort of a flatter part, and then it goes up a bit near the end. Okay, let's get in some of this detail I've got. This is just the chimney here so you can put in some detail of the chimney like this. It's a bit of something up the top there. I'll just start putting in this, like, window frame or whatever in here, just behind the door, but the door behind the balcony. Okay, let's go ahead. The and we'll start adding in this like this white area here with the balcony with this white fencing, well, part of the balcony here. Good. Just at that line at the bottom. Now, here is actually where the top part of the door starts. It's like the frame. Is starts pretty high up, as you can see, but there is a staircase that's kind of obscured that starts roughly around here. So, all you need to do is just draw in a few horizontal lines to imply that. Like that. I don't even really need to yeah, do anything else. There are some shrubs and stuff, you know, around it as well, so that's just going to quickly put that in. And let's get in this area. This running down here. And then this right hand side also running down the page like this. Then a couple of areas. So to the left and right of this staircase, these stairs that run up, so they're good. And I'm going to just outline the roof areas better this. Good going to really make sure that this pops out of the sky. Some stronger lines are going to help that. Also, the side of the building, running down. And actually, there is a water pipe, you can see just running down the side of the building, something like that. And an auxiliary kind of air of the house out the back here as well, which I can just add in. I can't really see much of it, but I do see a window up in the corner, like there, and there's like a rooftop here. There's a window, and the details of which we can add in these little sections add in like that. Put the frames in There's one window, and now another one here to the right. Let's put that in here. It's the same sort of deal just putting in these frames so that they, um you know, they look more present. Okay. The edges of the frames, as well, the window frames, just like that. Outline those stairs a bit better. And also the bottom of the house that hits the ground. This that used to be better outlined. The balcony like that. Same with the details. Got the door here actually has got its own frame. Just make it out like this white frame of the door. Just draw that in. There's a few details on the door, as well, which I don't know what they are. They're kind of these three sort of rectangular shapes on the door. Bottom of the house also has something here, like just a section of the house, I guess, you know, the bottom, which is, like, lighter in color, I'll just draw a indication of that. And of course, there are some of these shrubs and stuff obscuring it, as well. Okay. Um, now, the rooftop could do with a little bit of this sort of what would you call it linework, light kind of linework. Um I don't want to overdo it, but just, um, But of course, the house as well, does have a bunch of these blanks that you can see just sort of visible. So I'm going to use this basically this thinner N. Probably the 0.2 would be better to imply some of this stuff. I think lighter is better here on the right hand side. This example is much much better. Shows the details of the linework better. 22. Swedish House Painting: I'm going to start off with the sky here with a bit of cerulan blue, really light wash of cerulian. Bring this around. And uh basically using a mop brush to get the most amount of paint I can into this area. Very light wash, only about five to 10% paint. The rest of it is just water. Okay, I just want to cut around the rooftop as well of the building and the chimney. One thing that's really obvious about this scene is the light on the building, and we have to preserve that as well as we can. The side. Okay. Oh, right. Now, with the rooftop, I'm gonna pick up a bit of grayish sort of paint and drop that straight into the roof like this. Move that across. If some of this goes in the sky, it's also not a huge deal. It just needs to be a like a warm gray color. That should do the trick. Bring that across. That's uh do that Section two. Good. So we've got the roof in. Now, time to do this part here, which is basically all that kind of reddish, dark, reddish color of the building. And I've got some pearl red, and also, I'm going to drop in a bit of a bit of Burnt sienna. Okay. So burnt sienna and that red together will kind of just neutralize the red a little bit. But it will still look nice and vibrant. So yeah, basically what you're doing here is cutting around all these white frames. You're gonna have to leave in, make sure you leave in some of those white frames or areas. Okay. Okay, let's just continue. Behind here as well, and here. Ah, right. So that's a pretty really solid wash there for the red. And I'm going to also lift out maybe a little bit of color here and there so that it just looks more inconsistent, not just completely the same color all the way through. I think, this helps a bit with watercolors. And also, yeah, just maybe light in an area here to the right implies some extra light in there. Okay? So that's looking decent in terms of the red. I'm just looking if there's anything else that we've missed out. Perhaps in here, I could have put a bit more in there. I'll just add in some, but nowhere else, there's not really any other maybe up the top actually here, I forgot to get this section in, and actually, this section also has some these lines running down as well, like this. So I just put them in quickly forgotten to do that earlier. The bottom isn't also that white as well. It's probably more of a grayish color. So I'll just add in some filler color here. Okay. Building in the background also has, like, a bit of a warmer tinge to it, so I'm going to add in some of that colour to fill in that house there in the back. Rooftops. You got like a yellowish color right to the top, so I can just add that in quickly like this. Just a bit of yellow, yellow ochre up the top, and then I'll leave the white part of the chimney. There. And some more green. I'm going to put some green here for these, like, bits of shrub that actually grow next to the stairs. And in fact, it extends all the way down now, so we can grab the mop brush, wherever it is, mop brush. And I'm going to extend this down the page, maybe add in some more yellow in spots as well to give it a bit more brightness, a bit more vibrancy. Um there's also, you know, trees and stuff running to the left and right. So this is just something I'm going to add in more detail afterwards, but just put in a bit there for the time being. I also maybe a bit behind there, but this is all going to be a second wash once this is dried off. The main thing is just this bottom part of the scene that we want to make sure we get in and I will darken a bit right at the base here. Good. There are a bunch of shrubs here, which I want to add in just the shadows running to the right. Like this. Um like that, maybe just sum up the top here where the stairs are. There should be a bit of shadow running to the right, as well. Yeah, just shrubs and things growing in the front. And I'm using a rigor brush to add in this kind of detail, some darker ones maybe there's also darkness behind like this. So I'm just gonna pick up a few kind of brush strokes there to indicate those shrubs. It doesn't have to be much, just a little bit of something there to keep it interesting. All right. So blue. I thought it would be nice for the windows, some areas within the windows or some cooler colour of sorts. So just I'm going to drop that in, cut around the frames a little as well. Okay, let's put in some shadows. So underneath the rooftop here, there's gonna be some darker shadows, and depending on how, you know, obviously you want to make these as well. Like the And I'm just picking up really a purplish color to do this with. It's coming down to the left like that. There you see in the windows, there's also some darker spots that you can imply. Well, you don't have to do it all over, but just in some spots here. You And this larger kind of shape, well, I just quickly put in some extra something those bit up the top of the balcony. But, yeah, just here, you can see it's sort of casting a shadow. You can see to the right of the building here. And it's like these downward bits like this. And we'll just color this all in pretty much the same value almost. It's just a bit of purple. And that's going to blend nicely with the red purple is kind of close to red anyway. And, see, move that to the right. W the window would make sense if this was a bit darker as well, so I'm going to just add in a bit of something here, but leave a bit of light sort of showing There's a tree to the left of the scene, and it's casting a shadow on the rooftop. So I'm gonna imply that shadow like this. Be a bit further down here as well. I'm gonna just darken and get in more of this tree shape or this darkness behind the building. Any kind of dark green will do for this. Right hside This large tree to the left needs to be pretty dark. I'm just gonna go for it, really, like this. Mm, more brown in this mix. Bit of green. Hopefully this will bring out the house a bit more. 23. Zorn House Drawing: Okay, so let's get started with the drawing. And over here, I've got a bunch of these pigment liners, and basically, they are various different sizes. I'm going to mainly use the 0.5. But for some of the thinner lines, I might swap to, like, a 0.2 or a 0.3, but really, you can just use a 0.5. And this is just going to be a fun little sketch here. So one of the things we need to do is separate everything. So basically the buildings from the ground. So I think I'll leave about just less than maybe a third of the way down about here, so I'm just going to draw a line, a very light line using this yeah, using this pigment liner, running across like that, just so that I can place the building. This is the apparently the Zorn building over in Sweden. And we're going to go ahead and put in firstly, some little quick details, I guess, the outlines of these trees here to the left. It's going to come in like this. Okay. And let's get the house. I think the most tricky bit is getting in, like, the rooftop area, making sure that there's enough room there. Okay? Now, what I like to do is sort of use the side of the pen and put in some very, very light marks on points, like the rooftop there, you can see that sort of triangular rooftop, so I'm just going to put in some points like that, okay? And I guess you could call it drafting or just getting, you know, some of the basics in before I actually make those lines, more obvious and more permanent. So yeah, when you're sketching, you can always just, of course, use pencil if it worries you to go straight in like this. I mean, it does worry me as well sometimes, but at the same time, you don't want to overthink it, yeah. So, yeah, I think the main the main sort of bits and pieces you want to make sure are in properly are just the yeah, the rooftop areas. Okay, so I'm just sort of having a quick look at the trees. Uh Okay. That should be okay. Now, again, if it's not perfect, it's not the end of the world, yeah, this is just a sketch. Cross like this and you've got this larger structure that just goes all the way up to a point here, crisscross kind of over at the top, like that. And then this comes down right about here. Good. And let's start putting in the bottom part like this here as well. And I'll move this across there. You're just trying to break down all the constituent parts of this house here in the background, you know, and if you look at it closely, it's just made up of smaller shapes. You know, rectangles, squares. You know, this part here is, like, separated into three little blocks like this. Again, I'm not measuring exactly, and that's fine, you know? There's another window here seems to be obscured by a plant or something in the front, but it doesn't matter. I'm not going to include that plant, actually. And underneath this roof here, you can see that there is a little shade that runs like this. Okay. With a slight window bit of window exposed down the bottom like this, let's have a look the other side. We're gonna have to imitate that, so just draw a line here, this and a bit of darkness underneath the bottom part of that window. Does have a shadow there as well, which will get in afterwards. And you can see just directly below, there are also two smaller windows, this squarish shape. Let's put that in other squarish shape. The, uh actually should go more to the left like that. And this is the front entrance of the building. So let's put in the main darker doorway, like this. It's a darker sort of doorway. And what else do we have here? We have got a few other bits and pieces, like some darkness behind as well. Mm, this whole area, in fact, will have some darkness, some shadows. Okay, now, I'm going to just start to outline this part of the building a bit better. So let's bring this up. Okay. And you can see it kind of has this point up the top here that I'm going to join up now. This, and we'll join it up here to the right hand side, there as well. Bit of shadow to the right, no big deal. UT part of the building has, like, a bit of darkness in there too here bring this down like this. Okay. Now, there are some little architectural details that we can include like this area here. It's like, looks like a kind of diamond shape that. And I will start putting in some extra little details that then comes down like this and blows across and smaller things in here as well, which we can imply. But again, I don't want to overdo it and you sort of spend all day with all these minor details. And there is it looks like a window here, actually, like a rectangular sort of window. It just looks like a rectangle, so I'm going to draw in a rectangle, and then we can figure out the details as we go by. There appears to be maybe some sort of shade on top there that's, like, rolled up and it's dark. In that part of the window, something hanging out as well, okay. And I'll start as well just again, outlining the areas of the rooftop here. And one thing I've found with this rooftop is that it's actually kind of not as you can see, it's not completely flat. It's kind of got these sort of jagged sort of edges on top here. Like that. So I'm going to try to imitate that a little. And then, you know, there's also some details of the roof that we can put in fluting or whatever. That goes all the way to the left there where it hits that tree. Ah, right. Now, here we've got this right hand side of the building. So I'm gonna put in a bit of extra detail for the rooftop. We'll come down here. On the right hand side, there are these little bits of the roof all the way in the background that sort of stick out the side. And I'm going to put in here, I'm going to put in some windows, this row of windows running across. I think it looks like there's four or so windows here of some sort, keeping it simple. Of course, now, I'm going to swap to, like, a smaller nibbed pen, and this is so that I can put in some of this detailing here for these wooden planks that you can see run across the building. Okay. Just run across. If you use a thinner or smaller nibbed pen, the lines just don't appear as obvious and yeah, they just look better, in my opinion. Okay. And all these lines, once you're done with the painting afterwards, actually stand out and look pretty pretty stark. So you have to make sure you're just careful with what you add in there. Okay, let's put in a tree or something here on the right hand side. Now, this is interesting. There are smaller kind of trees and bits and pieces behind, so you can see here just, you know, bits of trees and things like that here in the background. So I'm going to put that in. And this really helps to make the building pop out from the background, actually. So Yep. And look, all these details on the windows, you don't have to get them all in right now. So there comes a time where you might want to add in some extra details at the end once we finish with the kind of painting and what have you. But for the time being, this is fine. It's going to it's going to be enough to sort of get going, but I do like to just put in as many architectural details or imply some of those architectural details as possible now because it does form a good guide for your painting, so you're not kind of doing as much guesswork afterwards. Okay, there's a lot of shadows actually in here, but we don't have to draw the shadows in. That's all going to be done with the watercolors. Just having a look if there's anything else I need to draw in. This shade above here is it just didn't look strong enough, so I need to just detail that a little more. The bottom part here is it sort of comes down. Okay, so this looks alright. Alright, for a sketch. The windows have actually some extra architectural little details in there as well. So I mean, depending on how Depending on how you want to do this, you can really add in extra darkness and bits and pieces in here yourself. Or you can just leave it to later, leave it for the watercolors, as well. Let's just get that window in a bit better. Okay. Yeah, I guess normally there would be a flag or something up there. I think I'm just gonna leave it as is. Yeah. I think I'm just gonna leave it as is. I'm just going to outline the bottom of where the house hits, as well. Here, there's also, like, a shrub or something here in the foreground. Now, I'm always tempted to add in some people because, you know, with these sort of scenes, often, yeah, often, it can be it just looks a little bit lifeless without some characters or some figures walking through here. So I'm still deciding on whether I want to do that or not. I mean, some people say it's a bit of a gimmick and a bit of a cop out, I guess, but at the end of the day, it's up to you. I mean, if you think it looks better with some people in there, I think just add them in. And I'm probably going to do that. This is a path that's kind of this sort of grayish path in front of the house, and then it goes all the way to the right. You know, I actually don't know if I'm going to keep this path in here, but I'll draw it in anyway just for the hell of it. And there. And we have some shrubs and things just growing here on the ground. Now, this shadow I really like, but we're not going to do anything with the pen. That's going to be with the watercolors afterwards. I will, however, put in a couple of people, maybe just walking. Add these people in pretty loosely as loosely as I can, actually, because I don't want, I don't want them to look too kind of stuck on. So kind of making it look like they're walking into the scene. You know, maybe there could be like a person here on the right side of the scene, just walking forwards, leg forwards, and then the other leg backwards like that. There could be, like, another person just standing here, for example. I don't know. I guess this is a museum or something like that, you know, during the day here in Sweden. So you've probably got people walking around there anyway. But I do like I do like the feeling of it just having yeah, just having a bit of life run through. And remember, this area is going to have all kind of what you call it, light. So if I put in someone here or a person here, it's going to give me an opportunity to add some shadows in. Now, I reckon I'll put the third person. We should I put the third person? Maybe I'll put the third person here and I'm going to make this person bigger so I can play along with this shadow as well. So one leg maybe there forward and the other one there. You know, it doesn't have to be perfect, but just kind of implying that maybe this person's, walking through, and I can get a shadow running to the left. And it's important you make sure the figures are smaller as you move back. So I think that should be good. And, you know, for a pen drawing. 24. Zorn House Painting: Let's get started with some of these washers. So I'm going to use some cerulean blue here for the sky, and I've got a watercolor mop brush, which is, like, a very well, one of the largest brushes I have anyway that just picks up a ton of water so that we can get in some sky nice sort of even sky wash like this. I don't think I want to add in any darker colors in here. I'm quite happy with how it looks, but I will add in maybe just some, you know, blobs of inconsistencies. So you can just add in a little bit of extra paint in some areas to make the sky just look slightly darker in some areas, but other than that, just leave it mostly the same value, if not just the same value soever. Okay. So there we have it. We going into the trees as well. It's no big deal because the trees all going to be green anyway. Okay. These wash is very light. You're just using a very light wash, five to 10% color. The roof of this building is kind of a grayish value, but like a cooler gray color. So I'm going to add in maybe a bit of Yeah, just a bit of leftover paint here on the palette, but I'm gonna mix that same blue, maybe a bit of teal in there. Alright, let's see how that looks. It's not bad, something like that. For the rooftop. Let's get that in. Again, I'm using that same mop brush. If I don't have to switch brushes, I usually don't more efficient. That. Right. So yeah, front of the house is mostly mostly white, but I think I want to make a more golden looking scene. So I've picked up a bit of Well, I'm going to be picking up a little bit of this yellow here, okay? So this is like a really light yellow value. Drop that in here. In fact, it has to be lighter, way lighter than that, almost imperceptible, like that. This is Indian yellow. It's kind of like a golden yellow color like that. And the rest of the building also has a bit of this warmer yellowy tinge, which I'm going to add in here. All the warm colors, you want to add those in as soon as you can really like that. Okay. I've accidentally gone over these little shades, but that's fine. Eave them B, maybe a bit of burnt sienna here for this area. Burnt sienna plus some yellow ochre. Don't worry too much about things mixing at this point. You're just putting on color. You don't care whether it's implying much detail or anything at all. It's just to get in the lighter values, put in a bit of that gray here as well, for that shade on the building, maybe a bit in here, a bit of blue for the, you know, indicating some I guess reflection from the sky in the windows, like that. Let's see. Where else can we do that? Sort of do it in areas on the scene like that, maybe here. Okay. Now I'm going to go for the well, actually, before I do that, I'll just start putting in a bit of this kind of grayish paint here for this path, which I wasn't sure whether I'd get in or not, but I think I'll yeah, I think I'll just do it. So it's just got a bit of gray there. Okay. And now we're gonna have to pop over to the greens. So what have we got here? We've got whatever green you have. To be honest, it's no big deal at all. I've got something called undersea green, which I'm going to mix with some yellow to kind of lighten it up, touch on the edges. Some of this is probably going to go into the sky. I'm not fussed as long as it doesn't spread too much, okay? And this is, again, a way to just bring the building out. Bit of the green behind. I don't know whether I should actually extend this further up, maybe, maybe, or extend the green up there. Why not? Maybe up here like that. Okay. You've got some here. Then all you're doing is just dropping in this color around the house, and some of this will blend. Hopefully, most of it will stay put. But as you can see, I'm adding in some darker areas as well. You can see there's, like, some darker bits of shadows and what have you, which is very crucial to add in here, here. In here, well, around the figures, cut around the figures. More yellow in this green mix here. You can see it gets pretty dark around the figures. So you want to keep it that way. I'm just using whatever darker paint that I have on the palette and dropping it in here, okay? I don't care what color is, as long as it's dark, I'll mix in all turns to, like, a grayish green sort of color anyway. Just drop some in there. And this is somewhat unpredictable. You don't know exactly what's going to happen at times, but it's great fun. I'll tell you that. Alright. So we've got that one kind of in there. This I'm gonna drop in a bit of darker green for this tree in the back because I don't think we're going to really go back to this again. Once I, basically, once I put this in, I try not to re jig those trees and stuff in the background anymore, okay? Because it's going to otherwise, you might ruin this nice kind of soft look that you get. This tree here to the right. Same sort of deal. I'm mixing in a bit of yellow with a darker green. And I'm going to put this in there some more. What else do I have here? Just another darker green. There. Look, and some of it, as you can see, it blends in to the sky. No big deal. Okay? Cut around the figures. That's important. 'Cause we got to put some colors on for their clothes, and Oh, maybe not, we can leave them white as well. Alright? But here, you know, you've got this tree, which I do think I need to make it sort of darker around some parts like here. Kind of mimicking the left hand side, and we're balancing it out, and it's all just one shape, but you're implying the details within those shapes. That's the important thing to do. The green kind of comes down the page, like here. Actually is a very light green, mind you. I've gone over some of these figures oops. Okay, no big deal. Now, I'm going to just carry over some of this green. I'll leave that path first. I'm going to carry over some of this green down here. All right. Beat in yellow because I want to keep this whole area in the front nice and light with a ton of this green. I've got some yellow and green and keeping it very light by mixing in more water. That's how you do it. Just mix in more water. Okay. Carry this down. This is probably going to be, you know, very similar color all the way through. I don't mind carry this down the page. And as I go further down the page, I'm going to just darken this a bit. And there's actually a shadow, as you can see, that just runs through the scene, and I'm going to put that in. Okay, so I think a soft shadow will do better in this scene. The sharper shadow is nice, but it does draw away from I don't know. I think it just looks it could maybe look a bit too jarring. So I will go with, like, a softer sort of shadow. So all I'm doing is picking up some dark paint. I've got purple, and I've got a bit of green, and I've mixed them together, and I'm dropping them onto the wet paint here. That's too much. You don't want something like that. So just move that around a bit more like this. So this is kind of, if you think about it, like an imaginary you know, an imaginary shape or something of a tree to the right. One thing I've forgotten is to put in a tree or something here, as well. This something I just forgot that there is a bush or something in front, which I will indicate here. And this is to give more sense to maybe a shadow that I add in to the left, what have you. Might actually use the round brush for these shadows so that I don't overdo it. Okay, like that. Let's go back to the Okay. Well, less you fiddle around with this, the better because at some point, it starts looking to it starts looking a little unnatural, so just be careful with this. And the edges of this path as well, you can maybe just add in a bit of extra, you know, bit of detail, a little bit of outline there. And of course, I not added this in already, but there are these small, you know, shrubs and things, maybe like a tree here in front that just sort of, you know, hedges and things like that. I don't know, you don't have to really do this, but I think it can help. Add a bit of extra detail, but I don't want to get rid of all the light on the house, as well. So we just have to be careful with this. Okay. I notice how this is all just one big wash. Everything is blending together. Something's happening. Alright? Let's have a look. This is a nice soft shadow. It's definitely a lot softer than what the reference picture looks like, but I do think it has a subtlety that I just want to portray in this scene. I don't want too harsh of a shadow running through, but I will probably have a sharper shadow running yeah, running through for these figures up ahead, just to bring them out. Bit more. Yeah, I've given this quick dry, and I want to now start working a bit on the details for the building. So for this stage, we're going to need smaller brushes. I've got a small round brush here. Smaller round brushes. I'm not sure exactly which size these are, but essentially you just need to choose a size of brush that's going to be enough to pick up a bit of paint, but still small enough to detail what's going on in here. So let's see what we can do first. I want to get in some of these, like, frames and stuff of the building. Like up here, you notice there's kind of this uh wooden frames, bits and pieces on the roof, even in here. This is a burnt sienna, which is kind of a goldeny reddish brown color, which is absolutely perfect for this. I've used it already on the right hand side, and I'm going to go back into it again. But, um, you see, I'm just sort of dabbing in a bit of that here and there. This pilar supporting pillo or whatever is also also has the same color. So I'm gonna drag the brush down, something like that. Is there anymore? Not really. So here on the right, let's go in up the top. Like this, okay? Like that. Sort of criss crossy kind of area up the top there. No big deal. Now, this area is kind of like a bit darker. So I'm going to add in some extra darker paint, okay. But it's pretty much the same burnt sienna with a bit of maybe burnt umber, raw umber through that mix. Okay. Let's get this through. Bit of darker brown running through here. And leaving by putting a bit of darker brown next to the light of these frames, you really, as you can see here, makes it look like it's caught a bit of the light. Alright. This isn't the shadow just yet. This is just the color of these planks of wood. We still need to get in the shadows later or some of the darker shadows anyhow, but this is a good little start. Bring this down here, like that. See how I'm also preserving a lot of the light that's crucial that you preserve the light. All this warmth here on the side of the building is going to give reason to this darkness. Otherwise, it's not going to make any sense. So I'm just going to blend in a few inconsistent areas like that. Really just looking for parts where I could outline a frame, a window frame or something like here, for example, there are some like window frames, again, that are the same color. So you can, like, just make them look more detailed like that. This frame actually goes down further. Let's have a look. What else do we have? Yeah, I mean, there's some areas in here that could do with a bit of this golden color as well. Again, the same old frames up here, but I can just put in Okay. Sometimes less is more with this sort of thing. Okay. Alright, so really what comes next is your darkest portions, your shadows and stuff like that. Before I'm going to just let that all dry a bit, I'm going to just work on these people. Now, here comes, you know, a bit of fun. You can really just put in whatever color you want for these people. I'm going to put this guy's shirt or whatever in as this lighter blue color. And then, let's have a look. This person here. It's an interesting kind of shadow pattern, isn't it? Like just thinking I'm just thinking because the shadows actually appear to be coming from the left to the yeah, kind of like directly above. So the photographer would have been standing underneath the tree. It looks like the shadows are coming in from right to left, but actually he's standing underneath the tree. So that's where this shadow here is why that shadows there. But actually, the shadows are running to the right, very, very slightly, okay? Very, very slightly. So it's kind of above to the right, so you can see underneath the rooftop, there's darkness. There's a bit of shadow to the right here. But this is going to mean that these figures are going to have a little shadow that perhaps runs to the right as well. So you have to make this all consistent Alright, so I'm just thinking about all this as I continue on. I'll probably leave this guy's shirt white. And the one here right in the background, we can maybe use some I don't know, maybe some brown or whatever for this person's shirt, here in the background, something different. There's some people here as well. I'm going to put in a shirt for that one, maybe a bit of blue for this one here, and I'll leave that one, the other one white. And let's put in some legs, just some darker value. I've got some neutral tint or purple. That's whichever one is going to be fine. So the legs are super important. Just have to get them in kind of once like this, join them onto the body. Here's another one. Yeah, this person here as well. So kind of just standing off in the distance. I can imply that the legs there. Then you've, of course, got these people really far in the distance, and it's hard to see exactly what's going on. But, yeah. So I guess you'd have a shadow running sort of like this. Underneath to the running to the right a bit like that. Okay? I don't want to overdo it, but just something quick. And, uh, something quick like that, okay? It has to match with the rest of the scene. You can't just, you know, make the shadows going any kind of direction. So here's the fun bit. I really like doing this, but this shadows on the building, and I've mixed up a bit of paint and it's a mid value. So it's like a grayish paint that I've added in, like, a grayish purple paint. And it's really maybe 50% paint, 50% water. And you can see just where the shadows are coming from. Like, there's one that runs down the side of the building there, so I'm going to, like, get that in. It sort of cuts across this, um, what do you call it this shade here? That one kind of shape like this. And then you've got darkness running to the left hand side of this building. This runs down the page like this. Let's go. There we go. And the bottom of this building is really dark, so again, I'm going to just add in some more of this purplish paint here. Good. What else do we have? Bit of, again, a bit of darkness underneath these windows, and they will have a shadow again, like this. Okay, bit of that shadow like effect a bit under here, here, maybe. Um, let's have a look here. And, um, this this darker paint to imply imply these shadows. They're just so subtle but important. Um to give sense to all this I'm just having a look to see if there's anything else really missing, for the general shadows of the building. I think that looks okay. But we do need to add some more up the corner of this part, like bit of brown, bit of purple. Here. It's running up there. And I'm coming down here, running behind as well. That have a look. I just want to make it look like there's some shadows forming underneath here. These are really dark shadows. A bit of extra darkness in this doorway, too. And a little I guess bonus you might want to just add in some more of these lines that run across like this in some parts. Just bring out that area better. Bit of hair for these some of these figures, maybe, bit of hair. And a bit of paint a little bit of red paint for the faces. Okay. Talk like that. I will add some extra, like, darker spots here to the background. So I'm picking up some neutral tint, dropping some spots in with the brush to perhaps just I don't know, just get in, just some of these sharper values for the background. In some areas, anywhere, it's not a huge deal, but I'm just dry brushing this on using bit of leftover paint that I've just picked up from the palette. And hopefully this will also help these figures in the background move forward a little bit, as well. And not only that, hopefully create a bit of contrast between the trees and the house. Okay, I don't want to get rid of all the light on the trees, but I do want some texture and some extra darkness like that. So yeah, it's just whatever paint that you can find on the palette doesn't have to be any color in particular. But, yeah. Extra darker spots, you know, here and there, good have a look. I'm just trying to outline some of these paths a little bit better in some areas. You know, here in the background as well, you can see there's, like, a fence or what have you. I'm going to just put indicate some of that stuff there and also the same deal with these, like, darker trees, just add in a bit of scumbling and darker color here. Okay. And this will kind of make them stick out a bit more. Yeah. I think I did say I wasn't going to go into this area again, but I'm going to just violate my rule here just a bit so that I can maybe darken and create a bit more detail, contrast, I guess, for the house as well, maybe with some extra tree like shapes running in the background. That 25. Conclusion: Congratulations on completing line and wash for beginners, Nordic scenes made simple. You've now learned how to combine ink and watercolor to capture atmosphere, light, and texture in simple expressive ways. Remember, the key to pen and wash is simplicity and spontaneity. So don't worry about perfection. Just let your lines be loose and your colors flow naturally. Each sketch is a moment captured in time. Keep practicing these landscapes and scenes and experiment with your own subjects. Make sure you fill your sketchbooks with memories and impressions. Thank you for joining me, and I hope you found this class relaxing, rewarding, full of inspiration. Until next time, keep sketching, keep painting, and I'll see you in the next one.