Loose Watercolour Painting Essentials: Complete Process and Techniques

1. Introduction: Hi, I'm down to your watercolor artists from Melbourne, Victoria. Welcome to loose watercolor painting essentials. In this class, you learn to apply concepts of depth, composition, layering, perspective, as well as essential watercolor techniques in order to create a beautiful painting. In addition to the theory and practical exercises, there were also 11 included projects that will complete together. I'll walk you through in real time the techniques I'm using such as wet and wet and wet and dry. I'll also show you how to simplify and sketch any scene in pencil. This class is aimed towards beginners and intermediate painters. Their scans, drawings, and tracing templates included for each project to help you transfer your drawing over quickly and easily. In this class, I narrate my demonstrations in real time. I explain every technique I use in the context of the painting, such as larynx into wet areas to paint shadows of a tree or building. I'll be going over the essentials of layering wet into wet and wet into dry watercolor. I'll also talk about what materials you need and which ones are used in recommend. If you have some brushes, watercolor, paints, paper, then you're ready to go. Join me in this class. And let's create some beautiful watercolor paintings that you can be proud of. 2. Materials Required: In this video, I want to talk a bit about materials, what's important for you, and the ones that I use in case you want to know exactly what I use, but I'll just go through my recommendation so that you can get yourself some similar results as well. The paper that I'm using for some of the demonstrations, mainly the sketching demonstrations is 200 GSM or 220 GSM, cold press, watercolor, cotton paper. So cotton paper is the gold standard for watercolor paper. If you can get your hands on some of that stuff, you will never regret it because it allows you to lay a lift. Very, very doable. It's the best service, in my opinion to paint on. If you have watercolors, It's a thinner paper that I'm using for these sketching demonstrations, but for the actual paintings, I'm using a slightly thicker paper. So this stuff here, which is 300 GSM, 100% cotton, watercolor paper, cold press texture. The other sketchbook is also a corporis texture. It has a bit of a grain to the paper. It's got a rough kind of rough texture. I use that because it just allows me to create washes more effectively. I've always found that paper that is textured, it just blends together, nicer, get less blooms. Here's another example of the same type of paper that I have. Few other examples here, as you can see. That's about it. That's the paper I recommend. You can get other stuff called cellulose paper. I'll often watercolor paper that's not labeled cotton is cellulose. And that works very well too. But one thing you have to remember is that it tends to be tricky when you try to lay out, when you try to add two or three layers, you can actually lift up that previous color quite easily. So you gotta be careful when you're doing that second wash and doing it as quick as you can, which kind of fits into the theme of this class anyway, and loose landscapes. So that's all I have to say about paper in terms of the brushes you notice I'm using a very, very similar brushes in all of these paintings. I'm using a bunch of these watercolor brushes, these three here. As you can see, let me look at the ten slash 003 slash 0 brush. Each manufacturer has their own kind of numbering system or what have you. But essentially just look at the paper, the page that you're using and think, Okay, if I'm painting, besides, I'm gonna need a brush the size to comfortably playing painting of logic wash. So pick brushes that are large enough to get in a big wash, but small enough is due to cut around and add details. So these are great for washes. I have a couple of these other smaller round brushes here as well. This is number six round brush, and I also have a number four round brush here. These are the main brushes that I will using this paint in this class, as you see. In terms of the paints, I have one of these porcelain palettes here which I empty my paint chips on. And there's a lot of painting K button, you notice how won't use all too many of them. So this cerulean blue, a bit of buff titanium, which is like an off-white color. I've got a hands and medium, hansa, yellow medium here. I've got a yellow ocher. These two yellows at grades like a more subdued, muted yellow and a vibrant yellow. Got couple of oranges here. So I have a bit of quinacridone, burnt orange, and apparently in orange purlin read cerulean blue. Really important to have some of that for your sky washes. We've got a bit of ultramarine blue here, some browns, burnt sienna, and burnt umber. These are all different purples. I've also got some undersea green, a bit of neutral tint here as well. The main thing you want to just make sure that you have a basic yellow. So if you have muted yellow, yellow, ochre, red, and blue. So preferably an ultramarine because that speed more versatile, but you can't get a cerulean blue as well. That looks great for skies. I love using cerulean blue bonus color. And it's basically not often used. But only for finishing touches is some white gouache, little tube of white gouache. And that allows you to create some opaque effects and allow you to get in some funnel highlights. In the end. That's all the materials that you're going to need. There are some miscellaneous things like a pencil. I use a mechanical pencil here. This is 1.3 millimeter lead mechanical pencils, so the LED is a little bit thicker, but that encourages me to try to focus on the overall composition rather than the small minute details. Definitely hotel, hotels, really important to draw your brushes off every now and then. If you've got too much water on them, you want to create some dry brush effects, that kind of thing, adjust the war in your brushes. So important to be able to obtain control some areas so that the paint has spread all over the place. I keep a little container of water up here as well right next to the towel. If you have two containers, it's probably better practice. I tend to just use one, but some people do use another container with fresh water and one for cleaning the brushes. That's about all I have to say about materials. And I'll see you, I'll see you in the next video. 3. Building Confidence To Paint: One of the biggest challenges that people struggle with in learning watercolor painting and especially loose watercolor painting. He's working past the awkward stage. Often when we start a painting, especially, it doesn't really look like much. And you basically just got some loose forms. But apart from that, it doesn't look like a whole lot. And so how do I do with that? And especially what should you expect when you're learning watercolors? Well, let's, let's go through an example together so that I can more easily explained this to you. I'm going to draw out a little scene here, just the portrait style scene like that. Re-made a couple of mistakes during the border. We might have the horizon line here. And in a loose painting as well, you often have a very, very quick drawing that just manages to capture bits and pieces of the scene. But we're not really true, focused on spending all your time there. That's a little car here coming down like that around like that. Just a little something, just a little something like that. Might have some figures whenever a person walking through here, another person here. I'm gonna make these one's a bit larger because the scene is actually quite a bit of paper I'm using here is quite small, so it's larger. Much a bunch of people maybe better. Okay, so here's a few more, might have another one here. This is some type of light pole. There's like three lamps here. Like that. Like that. Starting at drawing, starting a painting always begins. I'm with a bit of sketching. I try not to overthink things. The faster you get that pencil onto the paper, the better. If you sit there thinking what you're gonna do. How are you going to start off this and that constantly, you never going to begin. Just stop and observe where objects and things begin. So for example, here we've got a bit of this top of the building here, like that. It's just disappears off to the side there. We've got some type of a building here. Largest set of buildings that come down there. We've got a tower here as well as you can see, which hasn't its side to it. To just have a bit of fun, just enjoy the process and getting a bit of detail here. Then fantastic. Main thing to focus on is just the basic composition of what's in here. We've got a tree here that's the way cutting through like that. He's a couple of he's a couple of others. Little windows in here that we can scribble in detail. There's another building here behind as well. Like that. It doesn't take all that much detail at all to put in a little plan, a little draft of what you feel like. You want to get into. This stage. Often a lot of people feel that the drawing doesn't look accurate enough or this and that, but we just have to get in enough of plants so that we know what to do with the brush, with the brushwork and getting into light and the dark areas. So let's drop in a bit here, this stuff on top of the roof. There's a bit here, here, here. This is a kind of squarish sort of thing on top like that. There's a triangular bit there. There's three separations in this booting 123, like this. Where else do we have here? We've got a separation in the buildings. We've got some windows and what have you here? We've got some windows here as well. But keeping them on that light source is all coming from the left-hand side. Drawing like this is fine. I think there's enough detail in here to continue. I'll show you what I mean. You start putting in the paints and you think to yourself, okay, we'll go getting the light of day. It's getting a bit of this yellow, dropping that yellow here for the building. Move that around. Some of it is going into the sky externally. That's okay. That just color some of these other buildings here on the left as well better, that yellowy color like that. Move that down here around the car. At the moment. You think to yourself it doesn't look like anything, looks a bit messy. But we have to persist because with watercolors, you need to put on at least a few layers, at least two layers before things start to come together. I'm going to pick up the good of these blue cerulean here on the page, It's pickup misrule Ian got some teal as well. If you've got whatever just a cooler color to drop into the sky. Like that. They're there, look at that just a few brushstrokes and you'd be surprised how much you can get it. Like that. Rooftops of these buildings have a bit of coolness to the right-hand side there. But I'll leave most of them kind of a bit of watts on the bit on the ground. We're going to go again with some of this yellow ocher, dark and down this area and drag down that wash from the buildings down into the foreground. And if you go over the figure's legs, That's fine. Just no problem. Something like that. This point. We've got a bit in here, we've got sky, we've got the buildings, we've got the figures. It might not look like much. But the mistake here is to think to yourself, I've stuffed it up. Not much in there. Let me try. Let's try pick up some more paint. Let's try to drop a bit more in here. If you're going to drop in any paint into the sections, you have to be very, very careful. The reason why is that it just tends to spread very rapidly. And unless you have a specific intention, for example, I might think, hey, I want to get in some wet and wet tree shape in here, for example. Yeah, I'm doing that intentionally. It will spread quite rapidly. For the most part, what you want to do is just leave it to dry. Like to put in a bit of detail for these figures as well. While I'm here, you might think yourself, okay, maybe the car needs a bit of bit of paint in there too, but I might leave it white. Leave that. Then you dry it off. A lot of the time, I still get surprised today when I'm painting and I think I've mixed up a painting entirely of just lost the complete message of what I wanted to portray. The buildings are too light. The skies to use too dark. Figures aren't drawn out enough. But every time, almost every time that I push through right to the end and getting older docs, getting the details, emphasize some of the figures in some of the objects in here. I'm always surprised your brain can only identify seen when you've got all the necessary tones in here. Just having the warm bits in here is not enough. A lot of the time you need to have Your dogs in here, your shadows, before your brain sort of puts that picture together. So you need to have faith at the end. If you know what you're doing, if you know you've got the shadows to head, you've got to be more detail on this tree to go to add the shadows with a card, the buildings better, the windows and stuff. You have to have that vision in your mind of what you want that painting to turn out to and work towards that and have faith and persist that it will work out in the end. That's something I struggled with continually when I first started painting because I would throw in the towel a little bit too early. Here is a bit of a shadow for the side of this building. Keep in mind as well that I'm not by any means trying to get in whole lot of detail in here, just bits and pieces using one brush. That's a side of the building like that. Remember the light source is coming from the left. You will notice as well that there are some little shadows underneath you. A little shadow here, let me shadow here. Kind of joins on like that. It's not perfect, but there is something in there. Let's have a look at these buildings to the left. A little darkness in here. And let's put in some darkness. Quick wash like that. Cut around the car on the figure like that. Trying to mix it around a bit more. This building has a bit of a bit of light off the top of the building. So I'll just soften that. Soften that off and bring this wash downwards. Like that. You might have the same thing here for these buildings. They have just a bit of light running across the top of the buildings like that. These buildings as well, you might have a bit of shadow here. Here. Most importantly, we've got this tree, this enormous tree just right in the middle of the scene that I will have to dock and down. And this is really the darkest tone that I can use in this area. But I just want to get in a messy tree running through that section like that. Little bit of work. Things are already starting to slowly come together. These are windows I'm putting in. I'm not dropping little bit here, a little bit here. Those could be Windows. There can be some darker paint. I can drop in here for some wet in wet window has got to be careful that they don't over do it as well because these do spread quite quickly. We start putting in some shadows here for the cars. Underneath the car, there's some wheels like that. Pretty dark and then I'll just join that up like these. Here. We'll get a shadow running towards the right-hand side like this. I've got some figures. We can just get in some legs like that. Draw the legs and you can sort of cut them off from where we are halfway to make it look like one of them is lifted. And there we go. We got a bit of shadow there towards the right. A bit, they're a bit there for these figures here, here. Without much effort already. You can see things have started to happen. Some magic has started to happen. That a scene is slowly started to develop. After you put in all those little bits and pieces. Might even think, Let's put in some birds that's dropping a few birds are indications of birds at the top there. Again, your mind starts to make sense of all these little additive components. And it starts looking like something. Even in a little scene like this that took me how long, ten minutes or so. Takeaway message, take-home message is to persist, simply just persist through it. Not all of them going to turn out this way. Some of them may not work at the end. But the process that you go through to complete these and these little sketches and little paintings that you might do. This is extremely beneficial. Extremely beneficial. 4. Handling Mistakes in Watercolour: One of the things I get asked pretty often is how do I build the confidence to paint a loose watercolor painting? How do I deal with the mistakes that come along the way? People often think I paint very, very quickly without much thought. And actually the opposite is true, but a lot of the time forget to go through and to remind people that it's actually many, many years of practice and trying out these different techniques, paying the same subjects, the same trees, the same buildings, which allow me to become more confident to execute this particular brushstrokes in the most efficient way. Initially, you won't have the competence to do that because you're just learning. But after some time and when you master or at least get your hand around your head around those techniques, you start feeling more confident. In terms of a loose watercolor painting. What I tried to accomplish, what I tried to do is basically paint in a subject. It could be tree, could be a house. It could be anything really with the least number of brushstrokes with the most efficiency to create a fresh and I guess spontaneous look. If, for example, I want to paint in, I don't know, a person. For example, let's just getting a figure. So I'll start here and I'll think to myself, okay, well, first thing I'm going to need to get into head, so I'll just drop in a bit of paint there for the head and have a look around. Is it is it the right size? I'll think to myself that looks all right. So I don't really need to alter. It will go into the body. That's just one. So it's basically two brushstrokes. Bring that body down a little bit there like that. And that'll just add in perhaps a couple of legs he will think, okay, maybe I have one leg going forwards and then the other other leg lifted, be like that or something? Yeah. We can try again. Another figure here, another person, it slightly to the left, body leaning to the left, a little bit like here. And then another Lake going towards the backlight that two figures with only a few few little brushstrokes. You're not trying to get in all the little micro details or anything like that. But we're trying to get in the most amount of accuracy with the least amount of brushstrokes. When you have the confidence after a while, after practicing, because I've done this thousands of times, just drawing figures in different poses, putting the legs and in different positions to make it look like they're walking might have someone that looks like they're just standing here. For example, standing by this side with the legs to the side like that, you get more confident in being able to pull off something like this. We can try another subject. We can try something like a tree here. And I'll think to myself, well, I can go in with a bit of a tree trunk like that. And while it's still wet and it can pull a few branches off there. They're like that. Pull off a few branches that I haven't used old too many brushstrokes here. Might have a few bits of grass or something down the bottom. The best, It's not the best tree, but it looks like a tree. It doesn't it? Of course, like during a more detailed painting, I'm gonna be sitting here. And I'm going to be trying to spend a bit more time than when I am at the moment on this tree. But for a quick little tree-like that, less than a minute, you're able to get in quite a decent indication. Loose watercolors. It's also about learning to work with your mistakes. What do I mean by that? Well, sometimes you, when you're painting quickly, you're gonna, you're gonna make mistakes. And it happens pretty often. I might, I might think to myself, I want to make another figure around the same size as this figure here. Let me just draw a little frame around it so that it just looks a bit better. Kind of implies seen. Maybe he is the horizon line where the heads of the figures are roughly like there and they just walking, walking along, doing whatever you draw out, pull out those perspective lines in the back. Who knows what's there could be some mountains, it could be could be buildings or something like that, that you've just soften up at the back there. Let's say I decided to put in a person's head and I think, hey, I want to make another figure and I'll put them right. Put that person right here, for example. Oh, oh no, the heads big. It's too, too large. You're going to have to then adapt to that. Instead of thinking to yourself, Hey, it's stuffed, it, throw it away, I give up. You can think, how can I, how can I use that to create something else that will still make sense in the context of everything else here. I think to myself, well, we have another figure walking in. And scrap this figure. Scrap that figure. We might have to just go over the top of that one, pick up some more paint and we're getting some shoulders like that coming in there. And we might have a torso and just the legs coming out here. Might disappear off the scene a little bit. But we haven't. We've got another figure that's still fitting into the context of the scene. You have to be flexible with what happens and what the watercolors Once wants to do. A lot of it's, you can't control. There are certain bits and pieces that you can't. Let me think, try to think of another example. You may have. Perhaps, maybe doing shadows. For this thing. I might just put in some shadows and running towards the right. Nice quick little shadows. Then suddenly I make a mistake. I do a really big one like that. Doesn't make sense. Well, what I can now do is perhaps pick out imaginary object out here that's traveling through casting that log shutter. Then I might have to think, hey, we've got to make another large shadow cost across to you. It could be some trees or something that's added the scene. Then you can go back in and do the shadow for this little guy here, this person here. There's a point of acceptance you have to have for the mistake. The mistake often, not often, but I find at times can be a gift. Because introduces another element, an unexpected element that can at times give you such a different composition. Not only that, it also increases your resilience. And what, what do I mean by resilience? I mean that understanding that not everything is going to go right, and not everything's going to look perfect. And you don't learn anything from creating a beautiful painting, a masterpiece or whatever, something that works out all the way through. You really don't learn anything from that. What you learn from is from all your paintings that have not worked out. The ones that have mistakes, the ones where you struggled through. Because what that does is that it forces you to look back onto that painting and think, what did I do here? What, Why doesn't it look the way I want it to look? Perhaps I fiddled around too much here. I tried to turn that into another shadow. And then I tried to lift it off and then it just created a big mess there. What could I do next time? Think of the mistake as an opportunity, a gift that you've been given to learn or to adept at a certain point and try to rephrase and your mind as an exciting, exciting moment. You're going to have lots of these moments. Whether you're an accomplished painter or whether you're a beginner painter. And often people struggled through the psychological aspect of dealing with these mistakes. Learning to work with them. Basically, this ways you can fix them. You can lift off, you can change, you can change it. But what you don't want to do is you don't want to give up. You want to continue on and try to work with it. And the more you do that, the more you realize that little mistakes in the scheme of the entire painting. There are metal. Really noticed. They're really noticed by other artists, especially even accomplished artist from a distance or even closer up, you'll find that there are many distracting elements in a scene. And if you've got a beautiful composition that that has a good sense of depth, could sense of perspective. It's interesting, no one's going to care and no one's gonna take note of a bloom here or shatter. That's just slightly off. Because sometimes if I have, for example, if I put it in a shadow here, like that, if I go in and I tried to lift it off with a bit of tissue, that might create a bit more of a mess. So leaving it like that, it's going to be better and may not really be noticed. I think that's the main point that I wanted to get across to be adventurous and to try using these different techniques. And don't, don't, don't I guess be wary of them. Don't stay away from them just because you haven't done them before, because at some point you need to use them and you need to understand and be confident and understand how to use them in the right times and the right moments essentially. So if you make these mistakes early, you will advance a lot faster. And that's really up to you. It's essentially up to you because making mistakes is, it's easy to do. It's easy to do, but no one wants to do it because everyone's afraid to mock something up. But the moment you say to yourself and you realize the mistake is just an opportunity for you to learn, an opportunity to grow, to try something different, to adapt, to be flexible. That's the point in which your paintings in many other things will start to take off. 5. Understanding Brush Control: In this video, we're gonna talk a little bit about brush control. I'm gonna show you just some of the techniques, brush techniques that I use to maintain a sense of looseness and fluidity, but still maintain some control. I've got these three watercolor mop brushes here, which are the main ones that I use for larger washes. Some of these I even used for smaller details and also have other brushes, basically just round brushes. So things like little round brush here, a larger round brush. This is number four and number ten round brush. What do I have? I think I've got another number for number six round brush somewhere, this one here, the other main brushes, it essentially used in all my paintings. Now, people often ask, how do you control your brush techniques? How do you make sure that there's enough water on there so that it doesn't create a mess. I have a little towel that I always keep on the side of my page. So basically I keep this rod on top and I'll put it here so that you can have a look. Essentially just what it is. It's just a little towel, little towel like this. And I'll zoom out as well. So you can see some of my brushes here on the top, which I'll just pick out some of the round brushes to highlight this point. Even perhaps a read of brush, little rigger brush here is another RAM brush. And of course I've got these three watercolor brushes here. Now, the witness of the brush really determines how much control that you have a lot of the time. Now, for example, this is a workout them apart. Just did this and this is a three slash 0. I don't really worry too much about the solids. Just look at how much the paper, how it appears on the paper. I've drenched this brush mostly with water. It's completely saturated and I'm picking up some darker paint here on the page. Let's go ahead and just drop this in completely saturated here. As you can see, there's a lot of water. There's a lot of water in here. Even if I pick up a little bit more water and drop it in. As you pick up more water and you add more water into this mix, you'll notice it just thoughts going all over the place. The paint mixes together. You get some soft, softer sort of effects in here. Hey, but the paper's still wet. So that's why the border still kind of a pizza shop. Okay. So you've got lots of water. You're going to basically be painting something like a cloud or maybe like a sky wash a large sort of sky area like this for example. You might pick up using that same brush, you picking up another bit of paint straight from the palette. I'm not putting that brush into the water again, I'm just picking up the paint from the palette. I dropping that in again because of the concentration of that paint, is higher on the brush than it is in this area of the water. Stays a little bit. It's sort of got a softer edge here where there's a lot of water. It's not going to It's not going to stay. But basically up on the top here, you'll notice that it will retain part of its shape, but as the paint disperses, it will start. Again just forming more abstract sort of shapes. The amount of water on your brush that you use initially. Determine how much all these paints spreads and disperses. And if you want a nice even wash, I tend to make sure that I've got just enough paint on the brush, just enough paint and water on the brush to cover an area. But if you look at the area, it's not overly saturated. You don't have any areas that have big puddles of water like here, here, here. As you notice here on this one at the bottom that I'm doing, it's pretty uniform. You can almost pick up, pick up, pick up the brush and that will dry in a minute or so. Controlling the amount of water on your brush is so important. Sometimes you mix up a bit of paint here. You think, gee, it's too too much water in there. I'll just dab that onto the cloth a little bit like that. Then I'll start going in. That's a bit better. Whereas if I just pick that up and I had a lot of water and I drop that in and think, god ****, that's too much too much water in there. To fix that up. Can be tricky. You got to let it dry. Another thing you can do is if you've got a big puddle of water here or here, you can dry the brush off, dry brush off on the on the towel like this. It's completely dry. And you can drag the brush through areas of high concentration of water and then dab off again so you can lift off in areas. But I don't recommend doing this all the time unless you really have to because it does leave some splotchy areas, as you can see here, you can never lift off a 100% effectively. It's, you get better at this as you practice. That one looks okay. But as a beginner, try to get it right the first time, but if not, you can always do this. You can lift off, but it does alter the initial wash itself when you do this. Let's talk a bit about dry brush. Dry brushes are really interesting technique where you're just picking up just almost pure pigment. There's two ways you can do drought dry brush really, you can pick up almost pure pigment and then just touch on the paper like this. And you can see it creates little elements of, you can see the paper texture shows through. And that's on a dry bit of paper or you can dry brush onto an already wet bit of paper like this. Notice the difference. This has a softer edge, appears more subdued than here. Dry brush. Another way that you can dry brushes, you can pick up an already bit of mixed that bit of paint. It's diluted diluted paint here in the side. And then you can dry the brush off on a bit of paper towel. And you can do the same thing. The dry brush strokes. It's still has that same effect, but it's lighter. When would you use dry brush? Dry brush is an important technique when we're trying to create texture for once. So this could be like strands of grass or something like that. So we can just implies some strands of grass all we want to create detail that isn't too stuck on. Now when you, for example, when we need drawing, when you're painting a building, some windows on a building. We want to get it in, in a very, very quick manner. I can do it in two ways. I can draw it in, paint it in like this. This could be some windows here. Here. Could be a little window or something like that. And if you notice, because the brush is completely wet, the outlines of the windows, all the shapes are very, very sharp and crisp. Sometimes this can look a bit too stuck on, especially when you're painting in a loose sort of men up. Other objects in the scene are a little bit softer. If you have something like this on a building, it just looks a bit too stuck on in it and it draws attention to that area. Too much. So dry brush in a way you can just pick up a bit of paint, dry off that brush and you can do the same thing that you can just draw. Put that in, but you can have more of a loose, irregular sort of line here. As you see. It's sort of skips a long bits of the paper. And you've got bits that still show the white. But it's a little more subdued. It's a little bit lighter in areas. So when you put that window on, it looks a little bit blend and blend in better. One way to put it. A few other things that I want to talk about in this video are just some of the other marks you can make with a brush depending on the shape of the brush. Now, It's probably more advanced. And the marks that I've shown you essentially are the ones that you just need to know. But I'm going to just show you essentially you choose a brush. So if we're talking about a really large shape that we're doing, maybe a large wash of sky or something like that. I usually use a larger brush like this mop brush OR logic watercolor round brush. And you can see it just creates large sort of soft, kind of shaped like that. There's not all that much you can do with the shape of the brush. It's just a feeling in a large area. The good thing though with these watercolor brushes that you can also create some sharp lines, edges and things like that. So it really makes sense, especially when you cutting around buildings, that kind of thing. You have a little bit of a point on the brush as well. But because this brush is very soft, once you're going to find it to be issue is getting in small details. So even though you can technically getting some smaller details with this brush, it's not a 100% ideal. I'm just trying to draw in a figure here because it's hard to control the amount of water on the brush. It tends to absorb a lot of water. The shape of the brush means you can do stuff like this as well. So you can start off with a small point, press down, and then lift off at the end to create a leaf-like shape, looks like a palm leaf or something like that. Other brushes such as little round brush like this, you can do exactly the same thing. Pick up a bit of paint, start out here with the thinner top and then press down and then lift up. Like that. Brush can accomplish a few different shapes. You can tend the brush on the side as well like this. And what that does is that it allows the brush to sort of grades the paper a little bit. You'll see bits of the paper that are exposed like this. That's if you want to create texture. Sometimes if you're doing a brick wall or something like that and you just want to get in a little bit of brown, little bit of brown for the bricks and layer over the top. You can do that just by turning the brush on its side, dry the brush off a little bit before you go in as well. You can do that kind of thing. Let's have a look. What else can we do? Flat brushes? Brush, taught that I do use from time to time if I want to create really sharp edges. So I can pick up a brush such as this and go in and cut around the window here. And it's a lot easier, for example, doing it this way. Then if I was to pick up, say, a round brush or a water coming mop brush like this and try to cut around this one, you've got to be a bit more be more careful for me, roughly around the same now because I've mastered the use of both types brush, but I do find the round brush. It just adds a little bit more character. Often the edges are not gonna be exactly put together like that, the flat brush edges. But if you want those really sharp edges, the flat brush really works quite well. The good thing with flat brushes as well is that you can get the I loop point on the edge. If we see when you wet the brush, It's the square shape, but you can angle the brush on the side and use it almost like a round brush to get in little marks like this. They create slightly different marks on the papers or you can see if you're doing some grass or something like that, they create slightly different marks. Here's a specialty brushes, fan brush, watercolor fan brush. Pick up a bit. And during some of these little grass or what have you like that as well. In terms of brush control, that's about all that I really want to talk about. I'll talk a bit about techniques and there is some overlap between learning techniques and also brush control. I just wanted to try to focus this more on brushes, the different types of brushes and what you'd use them for. 6. Essential Watercolour Techniques: Okay, time to talk about watercolor techniques. And this is gonna be a slightly longer video because I'm going to go through a variety of techniques that are going to be important for you in your watercolor journey to paint different types of subjects. And I'll focus a little bit here and relate them to buildings and the scenes that we'll be painting in this loose watercolor class. So let's go ahead and get started now, I've managed to pick a few essential ones. And the first that I really want to go through is different kinds of washes. Being able to pull off a, a variety of different washes is very, very important in watercolors, but at its most essential technique, because often watercolors we're gonna have to paint areas, large areas of sky, land, water. And so it's so important to be able to master this technique and use it in the correct circumstances. So let's pick up this large brush. And normally you with washers, I'll use a larger brush because I want to maximize how much water the brush can store. And at the same time still maintained a little bit of control. So wash brushes, normally I have a small tip but they have a really large belly. This one here, which will allow it to hold a lot of water. You can also use a flat brush for washes, something like this as well. You get a slightly different effect at times I do find it's easier to use watercolor mop brush, but we'll try that one as well at a different point and I'll show you what the differences. So the first thing we're gonna do is we're going to use, we're going to do a flat wash and a flat wash just with a bit of grayish paint here I have on my palette. And what we're gonna do, I'm just going to pick up a little bit of this paint and add some water. I'm going to mix up a kind of medium tone, nothing nothing to dock. And let's go in from the top like this. And I'll pick up some more of this paint. And it's important to make sure you mix enough paint based on the size of air that you painting. Mixed up just enough so that I have enough paint on the brush to cover this whole area. And you can see what I'm doing awesome on the side. If I think I've got a little bit too much paint on the brush. I just rub it on the edge of one of the wells to try to kind of wring out a bit of the paint. You can also do that and just tap that brush on the towel or a bit of tissue that you have as well, accomplish the same thing. So as you can see, at the moment, It's very, very uniform. It's the same color all the way through which is what we want in a flat wash. When would you use washes like this? Well, if you want to create a sky that's the same color, that doesn't look blotchy if you want to create an even tone all the way through the same tone. Like I said, the most important thing is to make sure that you mix up enough of that paint that will cover the air. Because if I did not have enough paint here, I'd have to go back and mix some more up. And the problem with that is that you're going to have then a different color, slightly different darker tone, or even a lighter tone down the bottom, depending on the consistency of paint that you are mixing. Something to really try out and attempt to master. Now, What we're gonna do next is we're going to do a graded wash. And again, picking up some more of this darker color, I'm just trying to mix up a bit more of this, maybe some brown in there as well. We'll see how that goes. Just a bit of brown. For example, we'll just start off at the top again, it's going to be fairly dark. Normally the graded washes, those start a little darker or you can use a lighter color and just essentially add more water. And what we'll do, I'm going to pick up some water onto the brush, pop it onto the palette like that. And I'm going to continue, let's continue and bring this wash down. Again with the brush. With the brush, pick up some more of that paint, dilute that more and we'll move that wash down. Once again. Again, we're going to pick up some more water, keep diluting this down to the point where it just becomes almost like water. And that's what I tend to do in the end actually. So sometimes you might get a bit too much water pooling around here so I can pick up a bit of that water here, just add water at the end like this. As you can see, I've dropped a bit of a dribbled a bit of water accidentally in there, as you can see, it's formed a bit of a bloom. But you get the idea. You get this kind of transition between dark to light and depending on the paper as well. And I waited a little bit too long before adding that second. Once you go to try to get it in pretty quickly. Too different to different washes. Now what I'm going to show you is basically a bit of layering. Now this bit has almost dried off and this bit is still wet. So what we're gonna do, we're gonna, we're gonna try out wet on dry. And we're going to try out some wet and wet technique. So I'm actually going to go into the wet and wet 1 first. I'll give this a little bit more time to dry. So say I wanted to get in some clouds into this mix. Well, there's a couple of ways to do it, so we can do it wet on dry over here, which will have sharp a clouds. Or for example, if I want to put in some mountains, there'd be a little bit sharper, but here because the paint is already dry, if I drop in a little bit of darker paint and what you do, you sort of go over into your palette and mix up a really dark mix of that paint. As long as the moisture level is more on the actual pays and then on your brush you're going to be fine. You want to have the paint slightly thicker on your brush and just drop this in like this and you'll find that the paint will spread. You get these irregular kind of borders with, as I'm demonstrating now. Play around with different consistencies of paint. But I do find if you add too much water, it's just going to bloom afterwards. So you really want to get it fairly, fairly thick layer of paint on the brush. This top layer has already dried. It's dried a little bit funny. It's gonna be drop the top. Let's go over here and we'll do some examples of some maybe some Witton width Clouds, sorry, wet and dry clouds. And look at that, something like that. It's like a shop, a cloud shape. Notice how it doesn't spread like this. The borders sharper like that, and more defined. Depending on the style that you are looking at, what you want to imply. They can have quite different effects. Wet in dry is also good for getting in things like the bottom of the landscape. So like if you're looking at mountains shop, mountains, look at that. You can just get in the edges of those mountains in a shop a sort of way. Whereas if we dropped in some here, as you can see, most of this is still wet. The edges of those mountains are a little bit softer. I actually prefer to have softer edge mountains in the distance rather than ones like these. But just depending on the wetness of the paper, you have a completely different result over here. What I'll do as well is now show you a number of watercolor techniques that we can use. And just separate these boxes into half. With these, with these boxes, what I'm gonna do is demonstrate a separate, a separate technique. Firstly, I'm just going to go paint one of these boxes first so that I can demonstrate another technique for you later. I just want to print this one and get this box ready. I'm just painting this one in pretty dark and I'm gonna show you later technique to lift out, lift out, paint. It also paint a little bit here. Let's get this one in to this. I'll give this one a little, little dry first. Actually, we should be okay. What I'll do is I'll show you some of the lifting technique out in that one. What we can do is we want to lift off a bit of paint to get some lots of clouds. We can get that brush dry off that brush on Tau so that it's almost completely dry. And then we can just lift off paint like this. Lift off a bit of paint. You can use different brushes as well. You can use a synthetic brush that has more control. The brush on the right-hand side that I used was a softer brush. Like that. You can lift off. Sometimes you got to do this a few times. Another thing you can do to lift off paint is to use a bit of tissue or a towel or maybe like a cloth or something like that. So you can just do this kind of thing as well. Just tap on the page, the paint and it lifts off quite nicely while the paint is still wet. Sorry, there we go. That's another technique you can use to lift off. Now, how do you lift off in an area that's already dry? Well, what you can do is you can get your brush. I tend to dry it off a little bit, but make sure there's enough moisture in there that's already dry. So what I can do, we can just draw, we can just get that brush. Shift that through here with a bit of water. You can already see by going over this area with a beautiful water. It's already starting to lift out a bit of paint. This technique can be used quite well to lift that tree trunks, branches. Basically create a bit of And beautiful lot or positive shape running through here. You can even do it here on the wet section like that. Little bit of water introduced in there. Another way you can lift off a bit of paint. I've seen people do this when they're painting. Birch trees are trees that are a little lighter in color. It does require a bit of patients, of course, draw that brush off and bring this down here and have that all the way down like that. Okay. Bit of water down the base there. You can see. The issue with this though, is that it does create a slightly sharp edge on this side. What you can do is another way you can lift off from a dry area is you can wet an area just a bit like this. Where did a bit of an area like that. And then you can get your tissue or whatever and just lift. That creates a slightly different lighter area of lifted paint. Sometimes you want to do that for again, tree branches or to create little elements in there, lots of elements in there. That's about it in terms of lifting colors, I'm going to talk a bit about pulling in color now for, Let's try this one here. So again, I'm going to use a really dark color, probably at some brown and blue mixed together, brown and purple just to get a really dark, dark mix here. Normally what you do, you start off with a really dark wash like that. Really dark. What you can then do is you can draw off that brush, clean off that brush with a bit of water. Just touch the edge of that wash like this. You can see just put some water down the bottom. Naturally. Some of that color will start to bleed. Downloads. If you tilt the page, it does that little bit more effectively as well. You want to try to do it almost immediately after if I went in like this, for example, picked up some water and just looks way too dark. Some pains at a really, really long mileage. So there we go. We can pull a bit of that paint on the edges. Do up at the top as well like that. Kind of just blend together a bit. You'll find the areas the paint will want to move from areas of high concentration to areas of low concentration. Another technique that you can use. I don't often use this one very much. I mean, the only reason I'd use something like this is to soften an edge. So I might pick up a bit of water and then just do this kind of thing. Just soften that edge off like that. The only time I use that technique, I don't use this all too often, perhaps in lands like natural landscapes, I might use it to soften off a tree trunk or something like that, but that's about it. Now we'll talk a little bit about also light to dark. So it's a little bit like a graded wash where you start off with a really strong paint here. Really, really dark paint is almost pure pigment and just a little bit of water to activate it. And then I'll just start continually adding some water. A little bit of water here. Join on like that. Little bit more water. And we'll join that on like that. Drag that color through little bit more water here. A little bit more water coming over here. You can see you get this graded kind of effect where it goes from light to dark. Kind of like what we did up the top here. Again, it's not a common techniques that I use except maybe at times I might make this guy a bit darker at the top and then I'll drag it down and add some awarded further down. Essentially about that it may be in landscapes as well, urban landscapes. And my start at the bottom with a really dark, dark stroke of paint and then try to feather it out to the top, make it a little bit lighter. That's really about it. Flicking is a technique that I also use in. It's a technique where you just pick up a bit of paint just like this on your brush. You can bend the brush back like this and just flick a bit of paint on. This creates these little speckles of paint running across and great for texture, great for things like sand, rocky sort of areas. Anyway, sometimes where you want to indicate a bit of interest in the sky, or it could be just to add some speckles and things in there to create some interests. I tend to I tend to just do it in some wet areas to miss create a little bit of a messiness into that variation. But I don't use it all too often. You can do it wet into wet on wet into dry as you can see, when it's too wet, the little speckles is sort of dissipate out and form a more subdued effect. Whereas here you can see each individual one. Let's have a think. We also have a couple of other little techniques which I want to show you. So blooms. What happens when you introduce water into an area that's almost dried? Let's have a look. If I drop in a bit of water, say here, here, let's just drop in some here. Notice does something very interesting. It creates a lightest sort of softer formed edge in there. A lot of artists really dread forming these blooms. Reason why is because just can look a bit obvious at times. Especially if you're trying to get a flat wash net area, some consistency. Blooms occur when you introduce water back into an area. An area of slightly wet or slightly damp, that's probably not worked out so well, but you'd have to wait almost until it's just about dry. Just dropping a bit of pain. You can see it's move around a little bit. Have a look. I think these bits have already dropped, but if I do it here, up the top there that hasn't completely dried. You can see you can see it already starting to bloom out in some areas. There. Done that. I think these errors, these errors are pretty dry. That's an example of a bloom up here that's dropped off. I accidentally created some before here. And here. I don't mind using them every now and then. Another way you can create blooms is by just waiting your brush with a bit of water, grabbing another brush and just tapping it on the page like these. You will notice that I do this in some of my scenes to create just a bit of interest in that area. Little bit of interest and micro blooms. This here is called a backwash. And essentially it's when you, you get large area of paint, you paint into a large area and the end of it is still wet. And so what happens is that part of it dries almost completely and the other part is still wet. And what happens is that over time, while these pots drawing this part sweat, they sort of blends together, makes me create a bloom like shape around there. Most of these things that we're creating over here, things that you should mainly be aware of. And often people associates such things with mistakes, blooms, back washes, bits of paint and splatter here and there. But they can be used effectively in your painting if you know what you're doing, if you're doing them on purpose, to create texture, to create areas of interest, to soften areas, mainly just to create textures and variations there. Absolutely fantastic. You never know exactly what's going to happen when this dries. You can see here the water is moving through a kind of deep in the page. It's all combined up here and it started to move through here. You never a 100% though. What is going to happen? It's good fun. Try and experiment around with this and you might be surprised at what you discover. The last technique that I'm going to show you is very simple, but very effective, and it's called scratching. Scratching is a technique that you use to lift off paint through a mechanical process. Mechanical means, I have a little pocket knife. You can also use a card or something like that. And you can go through let me just find an area. Normally it's an area that's almost dry it off, but it's still damp. Maybe here you can see a little bit. You have to wait until it's almost dry it off. And you can just scratch off these little bits here. You can see it here. Some of these pots because if you go into early, the ward is going to creep back in there. You can go into light. You're not going to be able to create much of an effect at all. I use this to create little, little areas of grass, that kind of thing where just want to pull out a bit of that paint or just pull out a highlight here and that sometimes on the edge of a tree branch or something like that. Have a play around with this. I'm using a knife, but you can use a credit card. Any old COD or plastic or something like that, works very well to. That's about it in terms of the watercolor techniques that you need to know and practice for this, for this, for this class. But as I do the demonstrations, you find out exactly what I'm doing during the time a war. So explain techniques, color mixes, and along the way. 7. Understanding Perspective: Perspective, a really crucial aspect of understanding how to getting a good sense of depth and create objects that I guess I make sense in relation to each other. So we're essentially trying to create an illusion of three-dimensionality in a two-dimensional surface, basically on a piece of paper. So this is going to go through basically a few different tips in terms of placing the horizon line. What I do. And I hope this will help you out in giving you a really basic guide. And that's all you're going to need in terms of this course, I'm gonna be covering essentially just one-point perspective, which is what you use in most of your landscapes. So what we need to do first now here's a couple of interesting things. Now, if you draw a line across a scene out, and let's just say we've got some mountains here. The distance That's just indicates some little mountains there. I've colored them in a little bit darker. What we're going to imagine is that this little point here, what we're going to refer to that is basically the vanishing point. You can draw a series of lines essentially going out from that point. This all the way along the page. Just as long as they're straight. And essentially you can start to put in little details. If we're, for example, this is a road of some sort. We might have the road here. This could be the road. And the road. We might have a car here, something called traveling along the road, like this. Along the road as well. You'll notice, you'll find that there are basically some light poles and what have you. What I'll do is that I'll use these perspective lines to add in my pulse. And as you can see over on this side here, with this perspective line going all the way up into the vanishing point. I can use that to put in some of these pose like this. What's happening as well is that because of the perspective line and this, sorry, this horizon line is a little bit higher. What it looks like is that we, looking from a higher vantage point. We've got this car that's a little bit further down. And we've got these pose which are just essentially on the side of the road. We can make once here on the other side as well like that. Going to be closer like that. You can already see that there is a decreasing size of the object as we move into the background. I mean, I could, for example, draw another car here. Just a little bit smaller, tiny bit smaller. But then you might have been caught all the way back here. That's tiny. There. You have a car here. Let's bit larger. It's closer to us. Like that. You always want to make sure that you're, you're implying that the objects in the distance is smaller and the objects in the foreground of logic. You can already see that even with some of these, you can probably extend out the, extend out the pose a little bit as well to make them slightly taller. I touched on it a little bit, but essentially putting in the horizon lines. So where should we put in the horizon line? It really depends on your, your composition, what you want to imply. We'll touch on these ones here. For example, will have an a horizon line all the way up there. And we'll have a horizon line all the way down here. Okay? Basically what's, what this is going to do is that this is going to emphasize a bit of a top-down view, almost a more exaggerated version of that scene there. We might have some mountains here, right in the backgrounds. Draw them in again there. Then the cars who almost not even be able to see the bottoms of them. But this is a smaller car up here. For example, like that. We can draw in a few of these pose coming in, this as well. You can see the angle, the angle of the cause and what have you. This certainly is more of a top-down view compared to that one here. So the higher you place the horizon line, it indicates your height. It looks like you're much taller than everything else here. Now, we might have a situation here where we've got the mountains here. Again. Still the same scene. And I'll color these mountains and we might have the road like this, very close to the edge of the road. Okay, We might have these what you call them, these flight poles here. We've got the cars here almost at the base of the cause. If it's lower down shot, the horizon line, wherever you put, the horizon line, is essentially what your height is. If you want to appear a lot taller or higher up, make that horizon line higher if you want to appear lower down to the ground or even eye level and make that horizon line lower. Okay, for most of the scenes in this, of course, what you're going to find is that I'm going to place the horizon line around eye level as if I were a person walking around the scene. Here's an example. So for example, I might have took a look wherever horizon line about here. Maybe change it around. We might have some buildings here in the background. We might have a larger building coming into the side there like that. Might have a few buildings coming up here to the right-hand side. There. We've got the street or something coming out like this. I'm going to start placing the people here around where the horizon line, the heads of the figures. You want to place the heads roughly on the horizon line. Some of the heads will be large, some of them will be smaller. Some of them will be higher up and lower down is what I'm trying to try to say. You might have a child here. Their heads are gonna be lower. But for the most part with adults they're going to be pretty high up near the horizon line. Same if you want to put a large person, perhaps walking into the scene here, you're going to find that the legs, I'm going to go out of the scene, you're not gonna be able to see them. So that's how you imply also a flat plane. Another thing we might want to do is, for example, do this scene so that you're a person looking again using this same, these three little examples here. I might do the same scene and will make the horizon line. Let's have a look. We'll make it probably lower. We can make the people. I'm actually a little bit taller. So instead of putting the heads there, you can put the heads here. And then we can have the legs coming out like this. I have another person here. They're the person here. We have another person here further up the horizon line, perhaps a nice here. These can be smaller. We have another person maybe here. This already looks essentially like you're further down on the ground. You might be a child or even an insect, maybe a dog or something like that. Looking up at the same scene, Let's go ahead and try this again by putting the horizon line will be higher and let's see what happens. Just drawing another square. We might have the horizon line up here. And we will put in some of these booting just an indication like that. It might even not be much sky in there. Like this. We can also now start putting in the people. So we can just start adding in a few here. This already appears as if we're looking further down on the people in this scene from a higher vantage point, looking down. Depending on how you want to structure your scene. You know, each of these different perspectives can certainly lead to a different feel, different emphasis. Here. This will emphasize more of the foreground, more of the ground, less of the sky. Whereas if you have a scene like this one here, it's going to emphasize more of the people, maybe more of the buildings. And this one here will be more of a average scene that you would see, I guess day to day as you're walking around. Certainly keep that in mind. One of the things I recommend as well is to just look at your reference photo and make sure you're studying it and observing it very, very carefully. In terms of width, do the heads of the figures line up on the horizon line? Are they right on the horizon line? Are they above or below? Look at the buildings as well. Where do they start and finish on the edges of the page, you might have a really important to know because some of the lines, if you, for example, start pulling in a building like that, it's going to look a little bit of funny. Okay, so look at where the lines exit the page. Where the horizon line is an important thing. If you've got the heads of the figures going increasing in height or going further down. So you might have one, he's a couple would try. We might have the same horizon line. But what's happening here is that we might have a feeder here. They start getting higher as they go up. Let me look like this. This might be again, just like a city scene or something like that. Just some buildings here in the background. But as they going further up, you see that people just the higher up. But as you come down, the people, even though they are larger here at the front, they head just further down. So what this is going to imply is essentially seen with there's an increase in the slope going up a hill or something like that. Which is really important because if you're not trying to imply a scene going up on the hill, you don't want to make the heads of different heights, or increasing in height as we go up to the back, you want to do this sort of thing. We were putting their heads roughly in the same spot. Even for larger, larger figures. Let's have a look at one where we have the heads kind of decreasing in hot. So you might have someone's head here, except it's putting a few little buildings and stuff. You might have someone's hit right here all the way in the front. Like that. Thanks. Going out of the scene, as we move into the foreground and the background, the heads would decrease a bit like this. We disappear off like this. This is going to imply basically a slope that's going downwards. Okay? String not as apparent. Not as apparent. I said I probably could have made it. But you get the points like the opposite effect to that. In terms of our courses are saying before, really, what I want you to focus on is very average seen. So we want to put in the horizon line roughly around here. You've seen the reference photos that I choose as well. They're much more suited for beginners because the heads are all going to be roughly around the horizon line. Okay, so it's an average, sort of average sort of seen that you would basically be able to relate to. Because if you've got all the heads on the horizon line, it means you're roughly around the same height as these figures, as these people walking through the scene. Which is essentially the type of landscapes that most people tend to paint. Because that's what we see when we go around and walk around in the street, roughly that everyone, the adults will be roughly around out our height. That's the same. And in terms of that perspective, the perspective lines pick that vanishing point here and pulled out a few lines from that vanishing point. I mean, you can even just do it in an imaginary sort of sense and go for it. In another video, I will talk little bit about using the perspective lines to draw in buildings such as, such as this one here, a couple here that I'm playing around with. But that's about it. And I'll show you as well while I'm here just a couple, a few examples of what I've done in some of these, some of these paintings. So we've got a scene. We've got a scene here. And what you can see is essentially the horizon line is roughly around there behind all these figures. And I've got some little perspective lines running towards the horizon line there. I've drawn the buildings roughly in proportion. Keeping in mind those perspective lines. And you can see the buildings gets smaller as we move back and larger as you move forward. If you find, as well as that details in the foreground will show you through a lot more apparently than you have details in the background. I didn't make the details in the background a little bit looser with this painting overall is pretty loose. As you can see, the heads are roughly all around the same height, indicating that it's a flat plane as well. That's one example. Here's another example. This is another scene, a kind of boat scene. One thing you'll notice is the horizon line is pretty far up. The vanishing points somewhere around here. Draw those perspective lines coming out. And essentially what that means is that in the context of this scene, because we've got the people's heads further, further down from the vanishing point is that we're, we're, we're looking down from a higher AP view on this scene. This is something a little bit different. A higher horizon line and a higher vanishing point. I wanted to create a more larger looking scene just with larger vantage point. And so that's why I chose this one. Let's have a look at another one. This one is quite similar to the first one. This is a street scene. Again, vanishing points somewhere around there. The launch you can sort of pull out like that. Again, the figures heads all roughly in the same location on the horizon line. But with that said, this slightly higher. If we look this slightly higher than the vanishing point, these ones have a little bit lower, but if we look at these ones here, for example, slightly higher. So this vantage point is, is kind of almost a little bit further down, almost like shoulder level to chest level as we're looking through a lower vantage point, but roughly around the same roughly around the same height as these figures. Still. You'll notice even minor deviations. I mean the head of his own head of that one, there are still obviously a bit of a difference, monitor deviations and not so noticeable as long as you follow the general rules of perspective, it will still look fine. It's just that if you go to figure's head up here near the building, that's going to look funny. Let's have a look at a few more. A couple more that I got. This one here. A closer up street scene. And you can see the figures heads here really close. But the, all the heads are all lined up roughly on the horizon line. As you can see, this one's much more true to life as we're looking at into a scene, as if we're one of these people walking around. This last one here is a little bit more of a gentle perspective. It's hard to see exactly what's, what's going on in terms of the the vanishing point and what have you, we know it's somewhere around there. But because we've got a pretty side on view, the heights of these figures that don't really matter or too much, It's more sort of just looking. We have the vanishing point here. Draw those lines out, make sure the buildings in the back a smaller and they follow, you can see the sides of the buildings here. They kind of follow that perspective as well. This one is a bit more of a gentle scene. I think it's going to be quite, quite easy to do this. I think as a beginner, it's more so the details that you putting in that can be quite tricky. I hope this video has helped you out and I do recommend you making a few drawings, picking out a few reference pictures that you have yourself, having a look through and trying to sketch them. Observe where the heads of the figures are observed, how the buildings are they told a short and observe the horizon law. Because in photography, what happens is that photographers do the same thing as artists a lot of the time they're framing a scene, but the scene is in front of them. We create almost the entire scene so you have more freedom, but they will lower and raise the vanishing points, bring it down, bring the camera down or fill it up to emphasize some objects and elements. 8. Perspective, Composition & Depth: In this video, I wanted to teach you a bit about perspective. And particularly perspective in the context of a street scene. I think we've seems like this. They tend to be very well-suited when we're talking about perspective because you can clearly see the buildings getting smaller, basically sloping towards and tending towards the horizon line. So let's have a quick go with this one. And I'm just going to show you how I'd basically draw this in. Talk a bit about the composition as well as a perspective at the same time, I think you need to consider all at the same time. We know a lot of tutorials. They, they tend to tackle them separately, but I want to show you how to tackle it in a practical point of view from me, I drawing and painting perspective, because I think it's really important. Not only the drawing has to be good, but you have to draw it in such a way to keep in mind what you gonna do with the painting afterwards. So without much further ado, I'm going to go through, and let's go ahead. And this is gonna be a real simple sort of scene. I'll get in the border of the page like this, something like that. There we go, Just a bit of a rectangle. One of the most important things with perspective and especially a scene like this. And this is a one-point perspective scene and the most common type of perspective, the second most common type is two-point perspective, but the most common type is 1. So what is 1.1 means is you've essentially got a area right on the horizon line, as the name suggests, like a point. And basically from this point you, essentially, which is called the vanishing point, objects start to get smaller and finally diminish and that point represents infinity. Essentially. In this scene, you can see the horizon line is right and this right over here. So it's not in the middle of the page, but just a little bit further down. Horizon point slash vanishing point. Okay? Sometimes you're not gonna be able to see the horizon in scenes like this. I'll referred, referred to as many as the vanishing point. But anyhow, it's over here. And you've got all these buildings around that vanishing point. And what I tend to do as a bit of a God, I draw these little lines like this, going away from the vanishing point and connecting up to the vanishing point. And not only that, you go up, I mean it just infinite lines. You can just keep drawing like that. I know some people will use a ruler, but I'd recommend you just to draw freehand. That's really going to help you understand, understand a lot better. In the context of this scene, what we're going to see is essentially, we're going to look at the side here of where this building comes in. We're going to start drawing a building maybe coming up like this. This is the building that's closest to us and we can see it kinda comes in and just disappears like these on the edge of the page there. You also notice as well with the sides of the buildings, the if you look at the lines that we've drawn kind of emanating from that point. You can use these on the sides of the buildings to kind of get in indications of the floors, where to place the doors and windows and stuff like that. A couple of doors, but see here the windows and you want to make sure that that also follows these lines. So you got a line running all the way across the top of the window. That's where you put the top and that's where you put the bottom. Okay. So you're following this general rule. I don't actually draw any of these guiding lines in the top of a drawing. Normally I do draw them in at the bottom more for the viewers sake. But really for my own sake, I don't need to do this anymore. So I did use to perhaps do it when I started, but not anymore. So let's go ahead and start drawing a few of these other shapes in here. So we do have a, a building right here. You've got the front of it. Like this. Say we want to draw the sides. I'm going to just draw a line going connecting to the vanishing point. And then there we go. We have the sod of the building in here like that. And then say I want to get in another building behind there. Then I can just again do the same thing, putting side of the building like that and continue that down like that. But a smaller building behind there. We can continue to infinity. Really, as you can see. One thing with perspective is often people ask, how do you create depth in your painting? I think the foundation of depth in a painting is an understanding of perspective. On top of that, you also have to understand tone, which I will go through a little bit later. So basically tonal or values, which refers to how light and dark things are. So far where we're understanding how to draw these perspective lines in, create an element of, I guess, consistency across. But if you want to just take along the basic concept, you want to just remember the objects in the background will get smaller and smaller. Objects in the foreground will be bigger than the ones in the background. If you keep that in mind, You can never go wrong. Let's go ahead and get this building here on the side. It doesn't have to be perfect like this. And let me just draw. It's kinda like a square facing a rectangle or square, something facing us. The side of the building. Here we go, same thing. So we're going to get a point at the edge emanating from that vanishing point like that. There we go and there's a side of the building. I'm going to draw a line down like this. If something like that. There we have it. We've got the side of side of a building here. Of course there's buildings a little more complicated. There's some kind of triangular shape there. There's a bit of the rooftop here. There's a bit of this other part of the, another building here in the background which seems to kind of connect onto the back on the top of it. Somehow he got Windows, few windows here. The buildings that tend to face You are a lot easier to draw because you don't need to draw any. If you use perspective there other than just keep in mind that the basic size essentially, you can see that one there. It doesn't always fit completely exactly into the structure as well. So, for example, you'll see this side of the building. There's a funny kind of thing just sort of sticking out like that. I don't know what it is. It's another type of building just behind. This one doesn't exactly fit in with the perspective, but that's why I was telling you at the end of the day. The basic buildings, especially they're rectangular or what have you, they fit into this, into the structure. But for stuff that just looks a bit funny or, or, you know, unable to place it into these guidelines Exactly. Just remember to make it smaller as you move into the distance like that. Everything else is gonna get a, just a little bit. And we can say draw another, do another one here. There we go, Just another building there. We might have some buildings all the way in the back. Really small. So already you can tell by looking at what I've drawn. There's a bit of depth in here. You can see that we're looking back into the distance and we can see that the building is getting smaller. Nothing you'll find as well is when you're painting. You're going to have to make it so that the buildings in the back, normally, the buildings and the objects, the people, they're gonna be lighter and less detailed. It's phenomenon. Phenomenon, but basically concept called atmospheric or aerial perspective. Often you'll get some lightening in the background and the objects will appear a little bit more bluish as well. Something to definitely keep in mind. When we're talking about a composition as well. Is that going to affect what we're, what we're painting? So if the buildings in the background, we want to create a little bit more depth in there. Again, we're gonna have to think about the colors that we use in that back area. So I'm going to go in and let's put in some figures as well. Now, in terms of implying a flat bit of land, this is really important. Now most of the scenes that you're gonna do will be based on a flat bit of land. In terms of that, look at the reference photo that we have here. What do you notice about the people's heads? Well, they're all lining up. Lining up roughly around the point of the vanishing point here. Some people will maybe taller or shorter slightly, but we've got, say a person here on the phone or something like that there. I'm going to just simplify this. There's a person here. There might be a person here. That could be a person here a little bit taller, like that. There could be another person here like a bigger person in the foreground because they're closer. That's something to keep in mind is, like I said, the closer an object or a person doing, the larger that they'll appear. Because building on the right is building here. To imply a flat. Basically a flat. Plane, you keeping these heads on that same point, roughly the same point on the horizon line, no matter how big or how small. That means this guy's legs may maybe too far out, they may disappear out of the scene like that. But that's already indicating that it's flat. We're going to go in and draw another person here. Another thing to keep in mind as well, like I said before, further back, you go the smaller things, people, buildings will appear. So let's get a little person here. That person is really, really far behind. And let's get a smaller person even here. Even smaller, you can barely see them right there. Grass, these basic concepts. Essentially the basic concept of understanding how to create a flat looking plane by keeping the people's heads, the figures heads all on the same point on the horizon line, making sure that objects are buildings in the foreground and larger objects and buildings in the background, people, they are also a smaller, you can already create a sense of depth in your scene. Now, composition is also really important when you drawing. So often you find that. You find that when you're drawing from a reference photo, the photo always looks good by itself. And when you try to replicate all the details on here with pencil, or if you try to paint all the details on, often looks overworked and not so good. A photograph is really good in its own regard, but trying to emulate a photograph can just result in a lot of frustration and may not necessarily be a turn out to be a good painting. This is where composition is important in the context of this scene here. What I tried to do is think to myself what, what's important here? What's important is it important to have? I mean, I'm looking around in the scene and there's probably there's probably 30 people in here. There's a lot of people. But if I put all those people in here, what's going to happen is that it's going to look overcrowded, especially with not as much detail on the buildings. So you've got to think to yourself, what's the story that you want to tell? Do you want to portray a really, really busy street? And you want to portray an indicate the beautiful architecture, the windows, do you like the windows? Do you like the shadows? I love doing things. Drawing shadows in. That's most important to me. Based on, based on your answer. At the end of the day, you're going to choose to focus on some bits. And that choice of which bits to focus on which bits not too, is in essence. In essence composition. You can go through and you can decide, Hey, I want to change the size of this building or I want to change the color of that building to emphasize because I like that building, or perhaps you might want to change it so that it's nighttime. So you can plan out basically the buildings to be lighter and then go in and color in the scholarly dark to remind yourself later to go in with a darker color when you just leave and just remind yourself. You might want to detail the buildings a bit more. You might want to perhaps get in just a few figures. Because if you put in too many figures, what's that's going to detract the viewer from looking at the buildings and the other part of the architecture. So it tends to be a case with the painting. You're going to have to subtract some bits, add some bits, and change things up. And I think that's a good thing. It's essentially your artistic license to do what you want. And I initially, when I started painting, I used to be very, very obsessed with the reference and too much so. But always remember that your painting and drawing should stand alone by itself. So don't feel like you have to constantly compare yourself. Compare yourself to the reference, reference photos. Another thing with the drawing is that especially with loose, loose watercolor painting, there's no need to get in all of the little details. For example, you've got some of these little lines and the buildings here, here, on this building here, look at that. There's just a little bricks that you can see in the architecture, these triangular thing above the window, the so many things in the air. By drawing this all in, you're gonna be spending all day doing it. And then two, when you go in with the painting, you're going to feel like you need to basically replicate or go over the pencil because that's the composition that you've planned for. So try to leave a bit of imagination, bit of room for the painting. Because often you'll find at times that you come up with interesting things while you're painting. And if he tried to plan everything out too much, if it doesn't work. What's important though, is to have a decent enough drawing so that you know where the players are at on the, on the composition has to say, for example, we have a figure here. It's really close to the front of the scene and we have to make sure that this one's in pretty, pretty clearly. Because if you make a mistake here, then essentially it's just gonna be too obvious. The placement of the figures is really important too. Sometimes you're gonna get reference pictures where the people might just be an awkward positions or I don't know, there might be doing something or imposes that you don't particularly like, Change it up. I'll put in a figure here closer because I wanted a figure kind of looking like they're walking through and having a couple of smaller ones here to increase the sense of depth of decreasing size as you move through in someone looking like they're passing through the scene almost as if you're the person going through that scene. This is a compositional choice, as well as color, as well as determining what time of the day it is. Determining what color clothing people are wearing, what they were wearing. So many different options is essentially how you want to portray the scene. That's about it. I didn't really have much more to talk about in terms of the general application of one-point perspective. I talked a bit about depth, talked a bit about composition as well. I think the tips that I've mentioned will serve you. So if you remember with the drawing, it's just a plan. It's a plan going forward. And you want to spend enough time there, but you want to be in most of the time on the actual painting itself. 9. Creating Depth in Your Painting: In this video, I'm gonna be showing you how to create depth in your painting using a variety of techniques and considerations processes, creating depth is something that is a multifaceted concepts. So we're talking about what colors are we going to use? If we're talking about subjects that are closer to us in the foreground, we generally, they're gonna be a little bit darker. There gonna be a little bit more detailed than objects in the background. We're going to look at how to mix dark colors to create shadows. We're going to look at lightening figures out the back. So it's really looking at watercolor techniques, as well as being able to understand the timing of when to put the paint onto the paper because in terms of layering as well, there's going to be wet and wet layering and there's also wet on dry larynx. So this is gonna be a practical exercise where I'm going to talk more about the techniques I'm using rather than aim for accuracy. So let's have a go. I'm gonna, using a round brushes is a number ten round brush, I think number eight or ten. Just something simple to begin with. And I'm gonna be going with a light wash of yellow to begin with just a light wash of yellow. Now this is yellow ocher and the water consistency that I'm using here, It's mostly water, It's almost 80% water. You can drop that in, even just pick it up from the palette and just drop it in there like that. Now, these yellows, you'll find yellows, oranges, even reds, they have a naturally light tones. So even if you picked it up straight from the palette, it's still gonna be very, very light. Always in your first wash your creating a really soft and light. Saying okay, just putting in the lighter areas, you don't want to go really dark in any of these errors at all. You can of course use a few other bits and pieces like this is a bit of buff titanium just to kind of a white color. Layering and creating this initial light layer is crucial in creating depth because essentially if you paint everything the same tone, it's going to look really flat and it's not gonna look very convincing. So we need to imply, in terms of a sense of dimensionality. We need to imply light and darkness and the different tonal range that you find out there when you're looking at a scene in real life. So we're going to try to replicate that on a bit of a bit of paper to make things pop out. Often, a really common mistake that beginners make is just using the same tone and being afraid to go dark in areas. This is just a bit of the roof. I'm just going to drop in a slightly bit of darker paints. And what I'm doing here is I'm doing a bit of wet and wet layering. So I'm picking up a little bit of a darker paint, which is basically just a gray paint that I had. I'm just dropping some of that in. One thing to do as well. If the brushes too wet makes sure that you draw it off a little bit, it on the towel is something that you have. As you can see when you're doing some Witton wet layering like this kind of spreads a lot. It's very difficult to track exactly where all the paint is going to end up. It's quite quite haphazard way. Whereas if you're using a wet on dry, wet on dry method, you're going to actually be able to get sharper shapes on there. But what I'm doing here is that I'm trying to create a little bit of darkness by layering in a bit of darker paint on top of the yellow paint. But I don't want to get rid of all the yellow paint. We'll go in a second wash later to exaggerate that further. A bit of cerulean blue, a light wash of cerulean blue, which I'm going to put in for the sky here. We can use that again to just go around the buildings here on the sides of the buildings very quickly. I didn't spend too much time on this guys. It just trying to get in a quick wash in there. Keep it pretty light as well. We don't want to make it too dark. In terms of creating depth, the sky is often the lightest area of your painting. And in this scene as well, the ground which is kind of this grayish, really light gray color, is also quite crucial in this scene. So making sure that you've got light color, the ground as well. Often at this stage, lot of people tend to look at their painting and I think it's true too washed out. It doesn't look like anything. It's because we're not even at the middle stage of the painting yet. But this stage of the painting is so, so crucial because if we neglect to focus on the light areas in the painting, then we weren't had depth. We need to have a full total range. Lot. Colors like this, light tones, we want mid tones like this and this and some more that we'll get in later. Some really dark tones. At the end. What I'll do is that I normally let this dry off a little bit. Another thing that you can also do is go into some of the figures and just drop in some paint to get in some colors for their shirts and stuff like that. Some of the figures will just be a lot lighter than others, but depending on the clothes that they wearing, I'm just going to simplify that down. I'm a little bit like that. I'll give this a quick dry. The consistency of your water and your paint is really important. As you can see with all the sensors, mostly water. With all the paints that I've gotten papers is basically mostly water except for these dark bits here. There's probably, maybe 20% paint in there, but mostly water, as you can see all the pencil lines. Very well. That will be a first layer. I will do it very loose. Things may join together in some areas and you get some funny fairly bit here and there. But it's best to have it all look cohesive, kind of joined together. Because often what people do when they're painting is that they'll paint something yellow like this and then they'll just wait and wait until it dries and then they'll go in after hours. But what that does is that it creates a sharp edge here and it doesn't look combined, doesn't look like a whole scene, it doesn't look natural, so I let everything mixed together in that first wash, mainly water with a little bit of paint and dropping in those lighter colors. Normally they're warmer colors. The skies, it's cooler, but its light still too light and warm colors you're basically trying to get in. Okay, let's add in a bit of dark tones and stuff like that to try to get in some extra depth. What I'm gonna do is I'm going to go over the top of some of these buildings again and hopefully increase the contrast on them, making them a little darker. Stand out a bit more. So here's a bit of darker paint. I'm mixing up a bad, I'd say about 50% paint to 50% water in this mix. So it certainly probably the darkest mix that I've used so far. My aim here is to create a large shadow shape running across the entire scene. This shadow is going to be the same color as well as the legs, the shadows for the figures. If we look at the shadows here on the building, here, here on the ground, they're roughly the same color. The shadow on the ground is slightly darker than on the buildings because the buildings have some reflected light in them. But if we look at basically most of the shadows, I mean, you've got this area here, got some shadow inside the building here, here in the background and facades of the buildings in the front of the buildings on the ground next to these figures, maybe a bit underneath this building on the right as well. I always like to simplify, just pick up 11, general middle, mid tone like this. And at points I may darken it up, especially if we're doing the shadow underneath the building. This is wet and wet layering. By adding the second layer, you really going to make everything start to pop out. Okay, so let's start with this building. When I drop in a little color here, Let's just go in like this. I'm going to darken this up a bit. Again. I'm just trying to adjust the water. You'll notice I go back to my water and mix a bit more on the palette and then I come back again, reassess. You have to do this often and always remember the colors will dry, lighter then what you have put on the paper. So you have to take that into account as well when you're doing your painting. That's the top of the building. And we might have a bit here actually, there's a bit of this side of the building like that. It doesn't matter, it's just all one big shape. And you can see even the sides of it here, fairly dark. So we can get that all in this large shadow shape in one go. Okay. Paper I'm using is not the best. And what you find with cotton watercolor paper especially is that you still see a good amount of the previous wash in there. I'm going through again getting that shape, that shadow shape because the light sources coming from the left, remember, we can see the shadow is running towards the right. So a bit of color in there is good, a bit of darkness to imply, a bit of shadow on those buildings. And also here, notice as I'm layering into a dry area, we get a sharp edge. Right here on this side of the building. We didn't get any runny bits. That is also can be a pro and con. It just depends on what you're trying to do. Here. I'm not putting a bit more shadow of these buildings, perhaps running across to the right side of those buildings. Little bit of shadow maybe cost until the right side of those buildings on the ground. Let's get in a bit of more of a darker shadow here. Just running crystal the ground across the side of the building like this stock and that shadow a little bit more that will anchor this building down. Do it the same for that one there as well. Fantastic. And we can just do the same thing for these figures. I'll pick up a bit more of this paint. Let's get in some of the legs police figures. For the sake of simplicity, I'm just going to get them all in the same color. But normally you can also get in other colors for the figures. What you'll find is, well, figures and objects in the foreground are always DACA. Not always, but mostly DACA and more vibrant than the ones in the background. So I've got to figure here on the right-hand side so I can put it in a bit more strength for the lakes like that. But it also leave a bit of light on the left side of that figure. But these ones here you can go with a little bit weaker. Pick up some blues or some other colors and just drop them in and see what they do. I like to connect the legs with the shadows so I tend to paint the legs in like this. Just during the same time. We've got some another figure. There is another feeder here, walking around there in front. There's some more here, just all in the background. It's tricky to see what's happening. Just connect the video of shadow here on the ground. The shutter is often slightly lighter than the body and the legs as well. So keep that in mind. Sometimes I need to darken the shadow, darken the body a bit after I put in the shadow. Even here you've got these plants, plants or something like that in the road like this. And you've got a shadow running to the right. Another one here, larger one. The shadow running to the right-hand side. For those plots, you can already start seeing a sense of depth starting to take place in here. We've got a bit of the windows as well. We can put in some of the windows, bit of the darkness there. The lights, the light bits on the scene will only makes sense as long as you have the docks in the often people do, it just looks too flat. And the reason why is, as I said, you're not using enough dots. So you've got a, you've got to remember. Watercolors. Basically a layering median. And we often work in sections and different layers. To achieve the final result. You need to follow a process similar to this in order to getting all the different colors, all the different tones running through here. If you just missing out on the light bits, some of the pizza you're missing out on the dock beats, it's not going to look right. So that's just a quick little example of the balcony, just something quick in there. Like that. Then. I also liked to do something like drew out some of these perspective lines. You can start grabbing a bit of that paint and just pulling it out like that. That just to emphasize these perspective lines as well. There are kind of like trucks on the road, these tram tracks, here's well, which as a bonus that actually helps. You can see that there is a general sense of Dhaka shapes here in the foreground. Bit more detail here, a little bit more darkness here. And as we move towards the Bacchae gets a little bit lighter tone and Louisville little bit more wishy-washy. Final step to bring everything together is using both the really, really dark bits of paint to bring out the windows and small details. And also the way we're gonna be using some whitewash to bring out some highlights. Give us a quick draw. I'm using a smaller brush. I have a little round brush for this. We might, for example, put in a window or something here. There's actually quite complicated Windows structures in there that you can have a play around with or you can even just get it in with a quick brushstroke for just a one line thing. So for example, you could just go like this, like this. For window. We've got a bit of that going on. We're going to window up here. Notice how dot that is. Pretty much the dock is tones that we have. On the scene. We're putting that in. We might look at a bit of the doors and things here as well. And it's often one of those things that scare beginners as well. Basically adding in these dark colors because often they feel that it ruin it or just be too dark, that kind of thing. But actually it brings everything together. These are just some really quick windows I'm putting in just to highlight what I'm trying to explain. But let's have a look here. You might want to darken some of these figures as well. Doc and this one a bit. This one here, for example, like that. I'm not going to darken all of them, but just some of them. You can put in things like the hair bit of color for the hair, like this. Sort of helps to highlight the tops of the heads of these people as well. But these are really just the faunal dark bits that we have that we're adding on even doorways. Some parts of the doorway, as you can see, they have these kind of darker bits and pieces on the railing that's pretty dark. There's a window here That's pretty dark. So very simplistic illustration, illustration of what I'm talking about. But that's how you use these basically layering techniques to create a sense of depth in your painting as often, spend a bit more longer time planning this out and make sure the brushstrokes are more accurate. And I find that the more you practice, the more you just tried to mix up your different paints together and then put it onto the page. See how they draw. Is it too light? Is it too dark? That's the best way to learn. And I talked about the consistency of the paint. But often I don't even think about it when I'm in the middle of painting. Take home tips, make sure you combine your three different tonal ranges. So you got the really light aspects. So all the yellows on the ground, that gray or blue of the sky really light with most of mostly water. You want to add in after that's dried or you can also add in while the paint's still wet, add in your mid tones, which are just these basic color of the buildings and the shadows here on the ground. Then of course, your final finishing touches, which are just really dark tones and you're really light ones. If you've seen my demonstrations as well, I will pick up a fair bit of gouache and drop it in there, which is opaque white paint and mix it up sometimes with some blue to create some additional highlights. Blue or yellow works as well, depending on what you want to achieve. So practice this, use this process that I've taught you here. Trying a few different reference photos. I love just picking up different photos. Doing these loose sketches. You've learned so much from them, and they will speed up your progress considerably. 10. Barmouth, Wales: Light: We're gonna start off with getting in the shoreline for this one's really lovely photograph. And it does look like there's a lot of detail in here, but simplifying it down, I think it's gonna make a big difference. So I'm going to start off around here and end up roughly around here. Let's just go in and I'm going to just drew in a very new coastline like this, something like that. Mainly just to mark where the water starts and the basically the water and the sin meet roughly around there. It may change slightly later, but we'll leave it as that. Now you can see that the other side of the coast comes in just underneath the halfway point of the reference photos. So if you put the halfway point, say around here, it's just slightly under. I'm going to go ahead and make sure I got in getting rid of that coastline here and the other side. If you look at it, it almost just go straight across. Almost like the middle, almost at the middle of the page, like that. Little bit of that in, and we'll actually, I tend to draw a lighter, I will draw a bit darker. Seeing is this is a recording to make it a bit easier for those who are watching him to sort of see what's happening. There's a little beach here as well. You can see it just on the back-end like that. Another easy a bit to put in is just the mountain, so we're going to make it come in roughly around there. Get that in there and it's kind of finishes off perhaps around here, somewhere here. You notice this even tiny little houses and things in here that you can start to already, um, indicate this section. Little bits like these, which really created a little interesting here and simplifying down the shapes of the houses as well does make a big difference. I don't try to get an older details of everything, otherwise, you'll miss out on indicating what the actual thing is over there. So little bit of that. There's a kind of bridge going across as you can see, the cross like this touching on down on the water or something like that. You can see just little bits of the bridge that connect onto the water. I think this is quite important to put in just to create a kind of connect. That's good. You do have some mountains here in the background. They're very light and I'm just wary how dark I'm even going with the pencil, but you can see just another layer of mountains, perhaps another one sort of round here. Just putting a little indication of it. Don't need to worry too much. You'll notice here in the mountains as well, there are just some little little houses and things like that. So you can go ahead and just again indicates some some rooftops and what have you here like I'm not going to IT spend all day doing this, but here's the White House. In this section they're building. You can make it up as well. You don't have to have it exactly as it appears, but something like that. Then you might have the side of a house kind of going up to the top, like these coming down. So also keep in mind the scale. We don't want to make it too big. You might even have one here on that other side that's obscured by a bit of the mountain as well. Going up. Here are some rocky regions as well here. Rocky sort of areas. There's a tunnel or train tunnel or something here. All this stuff, I'm not going to really indicate too much, just little bits and pieces here and there. You've got trees and what have you in here as well. Just leaving little bits of white in here does help them to create a bit of interest. Trees. All of them just kind of overlap here with some of the houses and buildings. Here we go, just a larger building, their fantastic little indications of what might be going on at the back. But I'm not interested in getting in all those details. So let's have a look at the footnotes, simplify these down. Now there's so many boats in here. Great thing is that you can choose. So I might just put one in here and follow the general structure of the boat like that. You can also increase the size of them too, if you feel like they just had a bit too big or not. You wanted to go a little bit further back. You can do this underneath the kind of see them resting on the ground and this shadow here on the ground is gonna be a real important as well kind of going towards that right-hand side. Bits hanging off the boat as well. He's kind of float floating things there. Some of the windows. You might have another boat just over here as well. This one that's a bit closer. Getting a bit of the top part like this. Getting the bottom part here that's coming up like that. It just resting on the ground there and with the shadow underneath. And you can see the mask as well kind of go all the way up into the mountains like that. I'm just going to indicate it. We can get most of that on later with the watercolors. Pick out a few more things. If you're more boats out here, you might want to just put this one in for x, for instance, just here to the front, the top of it. And they're sailing off into the distance. A couple of other boats over on this side like that, like that. And I simplify them down. I always look at these boats, basically, the general shapes. I don't really bother to getting them, get them in exactly the bottom part of the boat. You can see curves like this. Curves a bit down towards the water. Then it goes a little bit straighter up here and then the bottom where it touches the water roughly here. Then there's these sort of cover things on this one here. That's it. Little boat. That section. There's a larger one that's closer by here as well. So let's just go ahead and get that one in and kinda starts off in his kind of what you call it a kind of like a box shaped like that. And then you've got the bottom of it sticking out a bit like this, here, like that. And then we can just have a little play around with the top part of the boat now. So just little bits like this. Here starts becoming a little bit more abstract. But with the drawing, you don't need to get into much detail. You can always add in some more later. Here we go. Bit of the mast. Of course, somewhere near the back as well. We do have other other boats that are just around like that. Now you've got another boat here. Is one. Overlapping boats always work quite well to that. Simple shapes and you'd be surprised what ends up happening off the woods. It starts really taking form. Just really trying to balance this out to make sure that there are enough smaller ones at the back as well to account for imbalance out all the bigger ones down the front. Just placing a few here and there. Now I'm going to put another one here, like that. Fantastic. Another thing I want to do is perhaps getting a couple of, couple of figures, thinking where to put them. Just gonna be bit trickier. I could put one in a roundabout here, like that. Just walking towards the camera, just walking into the scene like that. Fantastic. Let's let's have a look. Where else can we put in another figure? We can maybe put in another figure here, just do it smaller. Over here in the background. That you can have the shadows cost towards the right-hand side as well. Just like that. Fantastic. Getting close to finishing off the drawing. I thought perhaps another figure here, like one just walking towards or something like that. Maybe something I figured that's a bit further, further away or closer to me. I mean, just a little bit closer. Keep things interesting. Like that. Closest sort of figure. Maybe we can get in some more details on the OMS. Coming down the sides of this person, then universe shadow as well, that I think we'd be good cost towards the back so that three figures here. This is looking pretty good. Let's continue with the painting. What I'm going to do to begin with, and he's gonna be picking up a lot of little cooler color to begin with. What I'm going to begin with is I'm going to start essentially working a little bit into the top section of the same, and then we'll work our way downwards. So I'm gonna pick up over here perhaps a little bit of cerulean blue. But before I do, I think it'd be good to just whip the sky at touch like this, just with that area of the sky. So that I can get some cloudy areas are some interesting bits and pieces going through the sky. It's little trick I do just wet pre width area first. Like that. Let's go ahead and drop in some cerulean, just a light wash of spirulina in blue like this. Look at that just spreads quickly and easily. Spread almost too quickly like that. Of course, you can leave some of the white of the paper on there. To give a bit of variation to the sky. Want to keep it a little darker at the top. So I'm adding in some more blue at the top. And as I'm moved down, just kind of just move the paint around and leave some whites in there as well. You can see it's just really so we've lots are in some areas like that, but mix it nicely. Here, perhaps looking good. Sometimes you can even add a bit of blue to the sky, a little bit of ultramarine blue. And ultramarine is more of like a darker blue. Maybe like a reddish, reddish sort of blue as well. Just a little bit of that to the Scott. I don't want to do too much in there. Next step is just start working on the mountains and getting a loop wash of color for those mountains. I tried to pick up a brush, round brush, the watercolor mop brush that's small enough to get into details. So this is a nice mop brush. We'll be able to get in some of that green in there. But at the same time it's not going to overwhelm and have two broad sort of stroke. So this is just a bit of green that I'm picking up here. Unfortunately, there's some previous color lifting here, so it's coming out a little bit funny, but don't worry too much about that. Just go into it and it would dissipate slightly. There we go. It's working. That's green, undersea green that I'm using. It can add in a bit of yellow as well. I find like a bit of yellow and we'll just lighten up that green, that touch give it some more, little bit more life, depending on which green that you're using. Sometimes they can be just a little flat. I like this one even though it is a little doll. And the reason is, is because it just has such a beautiful granulating effect. So these are the little houses and things in here that I'm just cutting around. I have some change in variation as opposed. And shapes. I have some other color here, which is g of thought, kind of brownish color. The tones in this area are pretty dark and quite a few areas. Let's just go around and cut around these little these little houses as well. Just something like that. Some more green in here, perhaps something like that. Let's put in some more up here like this. Little bit of that house just cutting around that house. Do you know there's one here? Cut around this one to which you call it these houses, right in the distance. Mountains, I mean Rotten the distance here. They tend to turn a bit more bluish as you go into the distance. So I've added in a little bit of ultramarine blue. Just trying to water this down a bit as well. That ultramarine and perhaps a touch of green in there too. I want this to just mixing very nicely and be lighter than what's up here. So these kind of pushes that back a bit. I want to get a bit of a grayish color, I guess for these rocks. I'm just mixing up a bit of this is a bit of Gray, which I've basically just mixed from picking up some buff titanium. Just drop that in in areas I just want to get in some indications of some rocky areas of suppose there's not even that apparent in the scene, but something like that. That doesn't doesn't look all the same. And even around here you'll notice it's kind of sort of gray share is rocky, sort of grayish areas near the yellowy bits even hear of the bridge. It's kind of a grayish color like that. Let's drop in. It's more than kind of brownish green color there. Now I'm just going to continue down and putting a mixture of yellow ocher and a little bit of this buff titanium color to create a nice kind of, I'll put it in a bit of the yellow hansa yellow, which will give it a little more vibrancy. What I want to do is just add in a bit of that here. For the sand. What Ron at the back, it's hot tell exactly, but just a little bit of that running through there. I think we'd be nice in areas. Fantastic. I'm gonna move my way down now and turn this, some of this into water. I'm using ultramarine. Nice mix of ultramarine here. Just trust that in straightaway and it has to be, this is pretty much on which the dark color that we've got in here. What you want to do as well is make sure you cut around the boats. Notice some of these areas here. I can pick up another smaller round brush if that's too difficult to get in, kind of like that. And then you can get in a boat, soften off that area where the yellow is as well, so that it joins a little bit onto the sea. We can leave it kind of shopper with a bit of a crisper line running underneath it. So if you want to just leave some white in there as well like that, that can work. Okay, So I'm going to bring this down. You will notice some of this green name actually mixed into the into the water. But don't worry too much about that. It's better to just make sure that it's all fluid and doesn't look too forced. Sort of. I always check back at that reference every now and then and just see how it's comparing intentionally compositions. Is there enough white bits in there? The boats, are they being indicated clearly? That kind of thing. There's a slew bowed out the back like that kind of thing. But this is really dark. I mean, this area of the water is probably the darkest of the entire scene. So we want to really putting a favorite of effort with this. Notice here, this bridge, underneath the bridge, the water. I'm just going to get that in. There we go. Look. There's another boat, me facing another direction here. Let's cut around this one as well like that. Look what else we've got larger boats as we move closer to the scene like that. No need to color it all in. Just leave some of that white on there. That paintbrush dance around the page. Okay. Moving further down, you can see just picking up some more of this paint. Showing my best to again cut around bits and pieces. We've got to figure here, as you can see. We can just again just cut around that figure a bit so that we leave some of that white for later. We want to join this onto some areas of warmth below the sand. I'm just being a bit more careful here so that I'm cutting around, leaving some space below, especially so that I can go back into that area again. One more time. Oops. Cut around this one. So there we go. That's a boat. There. Come down. There we go. Just using that residual paint that I have leftover, cutting around this boat between that figure here. There we go. There's another boat here in the background. Here. Good. Now as we move down towards this area, this is where I'm a little bit, I get a bit more careful. Actually want to make this a bit brighter than the reference photos. So I'm going to be picking up some yellow that I'd mixed up earlier, a bit of yellow ocher and a bit of Hansa yellow putting a bit of buff titanium as well. Let's have a play with that. That's good. Decrease the vibrancy a bit. I use some yellow ocher that just makes it a little more subdued. This is just getting inabilities. I guess the sandy area. I just want to touch it onto the onto the water area like that. See there's a little touch of that on there and so that it encourages it to mix a bit. And maybe shift in and blend with the water section at a TEDx like that. You can see it sort of mixing in a bit over there. Another thing you can do is grab a spray bottle. Spray into that area as well to darken it down a bit. Adding a bit of darkness here, just a bit of little scribble in there like that. Fantastic. So really at the moment we've, we've certainly got a fair bit in here in terms of that first wash. We've even got some of the dark, really dark areas in there. But the idea of this first wash is to get everything to blend wet into wet. Another thing that you can do as well is go back into the water a little bit with a smaller round brush. Just pick up a bit of dark paint and mix it in with the blue. I usually use it in neutral tint and blue and dry off your brush a bit and then you can do this sort of thing. Just put in little indications of waves and ripples running across the water. And you believe in not really just, really just helps create a bit more depth than your painting in a bit more. Interest in the water section, the water areas. Sometimes you can use a little brush if that makes more sense, especially out in the back. The back where there's less detail and smaller details, especially I tend to just drop in a bit here at the back, like that, run through here, some bigger ones and bigger bits of water and reports like that running through it as we get through the back? Yes. Keep them smaller. Like that. This will melt in and you may not be able to tell too much of a difference opera, but he does help. Just give a bit more, a bit more interests to the water. Dry this off. This is dry it off. Very well. The next step of the painting is starting to put in some figures, some shadows, extra details, and especially in the background with the trees and what have you. So it's really just putting in shadows and extra details. I will go and actually pick up a smaller round brush. I think I'm really depends on the size of the paper, but I'm trying to pick one that's large enough to allow me to get in. Good, good sort of wash, nice colored wash, but at the same time, allow me to detail a little bit. I think this little mop brush may work, okay for some of these, some of this work here, but I may have to pick up, say, a smaller round brush like one of these two for the undersides of the boat, some of the shadows. I'm going to start with the figures first and think about what colors I want to put in for the figures. I'm going to go with kind of a lavender top color for this one. Just putting a bit for the shirt. For the person's pants. I think I'll go with some dark color like this bit of darker color there. If I can just I can just blend that a bit better into the shirt. Can I get the lake to come out somewhere like here? Also, I think what we can do is stop putting a bit of red in the face. And they would have read in a bit of maybe like a pinkish color here, just a drop of red in there. Like that. Drop in a bit here for these, these two figures there as well. Little bit of a lighter color. 11. Barmouth, Wales: Shadows: This is some yellow and then I'll drop in a bit of coolness. Legs just like that. Just to get them to stick out a bit more. Something like that. Good. I'm not get into a bit of this person's arm as well. Let me just put it in a bit of color like that. Something indicated on long along this, It's really see exactly some brown hair perhaps on these figures there. We can dock and up beautifully hair on some of them too, and then have to be the same color. I can put like a bit of a yellowish color for that one. Like that. Just a touch of color on the head for the hair really makes a difference. Good, good. Let's have a look at the boats now. I'm going to pick up some light colors. Let's have a look. We've got perhaps some of this lavender color. And I'm going to just drop in a bit of this soft lavender color across the boat like this, something like that. And then near the bottom I think I might just dropping a bit of red. Same as in the reference. Just similar, sort of do. Great. They'll always have interesting colors and then boats, so you just got to pick out, really just going to pick out a few interesting colors and go with it. The shadows and not really in yet. I'll have to wait to later at the moment. What we're doing is just putting in a bit of color, just a little bit of indication of what we want to have in there. The top of this boat is kind of like a teal color. So let's put in a bit of teal light wash of that here. Because that previous layer has dried, you can see a sharp edge here. Same thing goes with some of these little boats here. I mean, I'll just color in the top like that for this one. This one here we can just dark and off the base a little bit like that. What else have we got? Some of them you don't even really need to do much. Just a line here or there to indicate the bottom of the boat. A little bit of as you can see, just a little bit of color in there. But apart from that, they can look pretty good already as they, as they are. But I do like to put in little bits of interests like this, yellow, something like that to do it all over the place, but it does work in some areas like that to draw attention. Good. Let's have a look what we're doing on this side. So that's going on not just work on the buildings. Now here in the background. I'm going to go with a kind of grayish color for some of the roofs of these buildings, something like this. Grayish bit like that. They're not putting a whole amount, large number of buildings and things here in the background. So there's really not a whole lot for me to add in there. Maybe here. That house is almost almost lost. That one thing I've thought I'm sort of lost as well as a bit of this section at the back here. So I'm going to just rejoin on with these kind of software mountains and things off in the distance there. Just to create a bit more, strengthen that area. We've lost some of that. Hopefully that will dry a little lighter. And we can start going into some of these areas like here with the mountains, just starting to put in little bits of trees and indications of what you might want to indicate going on at the back there. Just using that paintbrush to drop in little bits of paint like that and create some sections of light and dark areas. It's so important to have some contrast in the hand so that it's not all just one color. This will actually dry off quite nicely once it's done. But at the moment, because it's still wet, it tends to look a bit out of place until we wait for later. So this is just some trees or something like that. He had just darker ones running through. This is kind of trying to indicate a bit of a shadow in there, a bit of a dark beat in here as well, but try to leave some of this grayish rock indicated area. I can just drag my brush across it like that to create a kind of sort of dry brushy style technique which brings out the appearance. So some of these rocks, we come down, just the same thing here, just a bit of dry brush and also some. Indicative detailing like that. Remember to leave parts of that previous wash on there as well. Here I can just putting a bit of this almost looks like a tree line at the back there. Just very, very subtle. Notice that all these trees actually overlap with the houses a fair bit. Don't be afraid to add in sharp edges for the houses. You want to preserve that light on the house. So that's why I'm being a bit more careful around this area. Getting a bit of this. A line just going across like that. They're good. Bit more yellow, perhaps just dropped into here. Tiny bit of yellow in there. Get some more of that green. And same thing goes just devil in this area for a bit and just get around drawing in some bits and pieces for these tree lines and some darkness especially as well, which will help. Fantastic. We're getting there, getting there. I'm also in this area. It's going to be a bit tricky because it's all just quite far behind. The easiest way to do it is what I'm doing here, just a little bit of wet and wet. I drop in some paint and let it go from there. You will see this bridge as well, which I think is important to put in. So we're just trying to indicate a little darkness back there and then you can see perhaps sections of the bridge hit the water like this there. But don't make it too dark. Just not too detailed as well. So you can see just planting, plotting them onto the ground, perhaps putting a slight shadow area underneath them like that. But apart from that, I don't really want to imply too much in there. As long as it looks like it's further back in the distance, separated out by the mountains as well. Then I'm fairly happy with how it looks. Fantastic. Now what I'm going to do, we're going to work a bit on the water again and I'm going to just get in some shopper, maybe some few little sharp waves running through here just with a small flat brush, round brush like this. Some sharper waves like this. Kind of works better almost if you work. If you do them quicker. These just little sharp waves running through. I don't want them all to be soft, just some variation. This area is probably dried mostly now, which is why I'm gonna go straight back into it and pick up some neutral tint or some grave, You've got some gray. It's your opportunity to now stop putting in some of the dark shadows that run underneath the boat. Underneath the boat and anchor it to the ground. So you can see parts of this boat actually still wet, but it doesn't matter. Most of it has dried. So just a little perhaps shutter here and then getting moving that towards the backlog, that shadow see kind of like a window here. So we will wind up something here. Here. You might get like little bits of the boat like that as well. That's a bit of little shadow anchoring it down to the ground. Let's do this one just underneath here. Okay. Cut around that part of the boat underneath like this. Some of the windows of the boats. So you can see here, here like that, some darkness on the boat as well. Little bits of bits and pieces. Some of the markings on them as well. You'll notice there's these little markings running across them. You do get these. They are some of these little bullets and things connected to the boats, which I'll get in perhaps later with some gouache. The figure does need a little shadow, 208th. Please just connect that on the right-hand side here. You're going with this figure. Connect that on kind of going off into the back like that. Let's get the both the legs in better. Like this. I always like to connect the legs onto the shadows. Otherwise, it tends to look a bit funny. Light source, we're imagining it coming from the left-hand side. You're gonna get a Shadows running towards that right-hand side like that. Good bit of darkness on the right side of these figures like this. Dot this here, that right side again, indicate light and darkness. Good, started to come together slowly. Let's put in a bit more darkness in perhaps some areas. Let's have a look here. For example, underneath the boat, I've not putting the shadow properly, something like this. And that's better. When they connect with everything. When they touch the figures in the figures, the shadows of the figures touch other things. It actually looks a lot better underneath the boats. You'll notice there's sometimes a little beats like this. Here's world can just get that one in. The darkness underneath. Is this always a little slot darkness underneath the boats and it helps to anchor them to the ground better, like what I'm doing. The ones in the back, even just a little line underneath them like that and it does help indicate what's happening. Good. I don't know if there's anything we need to do for the foreground, but you can, of course, put in small marks on the ground like this. They could indicate tire tracks, so they couldn't indicate just a bit of sticks and stuff like that on the ground. I find that helps texture the stand, Give it more interest. I don't overdo it, but little bit news is good at helps. Good. Getting there. The last step, I think it's really just bringing it all together with some extra darkness in some spots. And then of course, going in some gouache to finish it off completely. Firstly, I will just want to darken up, grab some more green and the plane around getting in some of these areas like that, little bit of green to go over that, some of those gray areas as well, just another layer of detail of these trees. Um, go over the top of the other ones. They create extra detail by adding another layer of tree. You can see just some pots which are lighter and some darker, really helps. And you can do things like BC, just pick up, you, just scratch in a little bit of the highlight or something like that in there as well. And it creates some interests running through the mountains. Can actually see some up the top there and the reference photo. Good. Even in here. And it's not a parent, but there's certainly some bits of mountains and they go off into different tensions and things as well. So just a bit of little bit more. Darkness in this is good. Combined, Jonas, join up these two sides. Good. Great. I'm going to just get in some a bit of gouache to finish it off, to put in the tops of these boats and will be finished using a small rigger brush folders. I won't draw it off first actually, rigger brush, a bit of white gouache. Just a touch of white gouache. I'm gonna go in. Let's try an area that's probably could do with more sort of here perhaps like that. There we go. There's one holding the brush at the end as well helps. Just to create a bit more looseness. And funny enough, it looks more natural video with this way. There we go, this one, there's another one, there's another boat, perhaps. It's got a master in it. Let's put in some more of these ones. Here. They just disappear off. Reload that brush again. This one doesn't really have one up. We can go through this one here. And they contrast so well with the darkness that's in the, in the ground. Sorry, it's not in the ground but the actual the actual water. It does certainly work. Let's have a little bit of white and sometimes you lose a bit of it and you can bring it back. And not only that, but the figures to you can put in a bit of gouache like that. It's just indicate perhaps some highlights on the left-hand side of that figure on the head, the shoulder of the figures like that on the left side. More so excellent. I should put one in there or not, but this May 1 be fine if we just go up here, do this one like that, connected on to the base. That not only that, we've perhaps got, I might want to put one in for this one as well. That's why Not. A couple more like that there. Bring this one down, make these because they're closer to the front. I'm just making them a little more thicker and apparent than the other ones. I'd like to draw off that brush, pick up the water gouache, draft that brush again. And what you can do is get in these like little, see these little bits that just come off the edge. Edges and things of the boat. There we go. Just some little bullets and things and connecting to the floats here as well. Just, just getting a bit of that too, that can help. Let's have a look here. By using this dry brush and keeping it fresh you, you basically create a different type of brushstroke rather than it being all completely flattened. One-way like the center one here, this mass, we've got a few areas of interests are different. Brushstrokes as well. Here's one sort of adds to the overall feeling of the scene and looseness of everything. I'm going to leave that one without without actually that one right there. Sometimes you what you see as well as with some of the ones closer, you're gonna get a bit of reflection on the ground. Funny enough, of the boat itself. As you move towards the back, it's not so apparent. You don't really get too many beats, but I can just imply bit like this. Like that. Just some real reflection of the of the mast. More so for the ones closer, closer by. Can also go into these sections. If you've got perhaps some bits and pieces you might want to put in like houses and stuff that you've not put in there. Or you just want to imply perhaps you can go back in there as well and indicates stuff with this gouache. It's just, It's fantastic. I know a lot of people pierce will not agree with the use of gouache, but I think as long as it gets the trig done and it's not too obvious, it's a great tool. It's a great tool to use, a highly recommended you can turn the brush on the side and indicate these kind of areas of cliffs and stuff like that. Just with the beauty of gouache. There there's like little tree branches. Can you see just a little tiny branches going off in different areas so you can do that into that in there. What else do we have coloring there? I think I might have overdone it up this top of this section there. So I'm just going to soften off a bit. Soft enough in areas bit of water. If it came to kind of milky Venus or softness in here, That's actually nice as well. Sometimes you get these nice slides Misenus with objects in the distance. But it's again just trying to combine that with the darkness of these areas, we'll see a combination of bits and pieces. Okay, good. Again, just dropping in some dark bits as well here. Looking at ways that I can potentially balance and create a bit more light and dark contrasts in here too. We have some of the roots are so dark, they're almost something here as well. And sometimes you don't even need to really understand what's in there. It's really just putting in some indications of light and dark and allowing the viewer to put the pieces together. Hands or don't even look exactly at what I paint. I just try to put in some the darks and light bits in there. That's the most important. See, I see a beautiful on the shoreline. He just a bit of darkness. So I thought I'll drop that in like that. There probably be dark, they're actually just soften off with the finger. Here you can see in the front few other bits you might want to tidy up. For example, the boat. Still you could shop in that shadow up, slightly. Sharpen that up a bit. Some of the darks just strengthen some of the darks more. This, this thing layering and just drawing with the brush, basically little bit of darkness in there. Some in here as well. I've missed out some bits of darkness in this boat. Blue here, just to emphasize that in blue again, tiny bit there. But I think we're just about finished putting a little, a few birds, birds in the sky, little round brush and we can just drop in some of these little shapes like this in the sky like that. I tend to just pick up again like these little, sometimes I'll drop in externally some splotches of painting areas and that helps to just get rid of them and create a bit more uniformity. Everything just tidied up a bit. The birds, sometimes I'll hang around these little flux. Sometimes they aren't, you catch them on their own. So you want to indicate both and going on and try to make them wellness as random as possible because otherwise they just stopped looking too stuck on these little v-shaped in the sky. That's what we want to, we want to imply going on. Sometimes what you do get as well as some birds coming through here just in the trees and stuff. Some of them will be closer like here in the water, near the water anyway like that. The time is not 100% of parents what they are, but let the viewer decide at times you just indicate you want to indicate that he knows what they are in the water. They could just be little reflections or something. Little little reflections running through the water. Like what I'm doing here. Draw off that brush here. Here, here, here, here, here in the foreground. That blue back, cerulean back in there. Then drop some of that blue into some of this area as well. I just want to see if I can balance it up a bit by adding a bit of a lighter blue areas, just an areas to create some variations. We can even put a bit into the mountains, just gouache and a bit of blue drop that helps to balance off with some of this bluish colors here as well in the front. Whatever reason I find that it helps, even though it's not really there. We are finished. 12. Bruges: Light: I'm going to start off with the drawing for this one and going just underneath the buildings right at the back here. We wanted to leave just enough foreground so that we can put in some figures, some of these umbrellas in that kind of thing as well. So I'm going to just go in roughly about here, which is I wouldn't say a quarter, but probably just a little less than a quarter of the page down the bottom line like this. The test stick. The easiest thing to do, really at this stage, it's just getting these large building here on the right. You can already see it's for coming in like this. Come up somewhere around here. It's larger sort of building to the right. Bring that up all the way up. And getting a bit of this pointed bit of that building here, there's a bit of the edge when other side of that building as well, the roof, you can see pretty much the rest of it. This other one just sort of cuts in front of it like that. Nothing too complex at all. Probably from this point, what I want to do is separate the building into roughly two sections. For the top and the bottom section. I'm going to go probably around here. Actually, we ran here, cut through the building roughly like these. You will notice there's a few sections of the buildings as well. You can have these two sections as one closer in the foreground. So we'll just draw a line down the page like this. Just really quick indication of that line. That testing, believe this one sort of sticking out like that as well and carry this down. You've also got a bit of this kind of shade here. Looks like a shade cloth of some sort like that sticking out the side of that building. We've got sort of little triangles here. And these little triangles are basically the umbrellas. These seem all around the place in these touristy areas or just in areas with areas. There's restaurants and that kind of thing. There we go, Just a little kind of shades for where the people are eating and that kind of thing. At the bottom there's the little bits and pieces of chairs, tables, that kind of thing, which I'll quickly indicate like this. This shade also is going to come down. There's going to be little bits of the sections at the back reaching into the ground. Just like that. Test stick. This is quite an important part and it helps you to join up the entire scene. Over here. There's actually another part of his building of not put too much detail in here, but there is a kind of a little opening there. What have we got up here? We've got also little windows that come up the side of this building like this. We're going to have let's have a look at one that's a little bit further up. These are just segments of the buildings and I'm just segmenting and very lightly. And then if you look down near the front, you're going to have like little squares and things here. And this is basically just the side of the sharp or the, or the building, these little windows or what have you as well. That really does help to draw some attention to what's, what's going on here in the foreground. There's a largest archway here, which I'm going to put in. But it just try to get it to disappear off the edge. Like that. I'm not going to indicate it or too much. You're going to get a few little bits and pieces in here as well. Just start drawing in some of these little windows and things like that. And then we'll add in some more details for them later. But just kind of ease down with actions like that. I'm fantastic. And there's actually some signs and things on these buildings. You'll notice there's even a few other windows that start to come up like that. This is what I'm doing, just indications of where those windows might be. They just lines really at the moment. But I hope that I can transform them into more window-like structures on here. I'm not really going to draw them all in there. We don't need two. Other thing is that we're going to have figures moving through this. Location. So it's a good idea to just try to get in little spots where we think the figures are gonna be. Just gonna put one walking towards the camera. Here on that right-hand side. Maybe just sort of walking can be walking to or walking away. Maybe another one here as well, just leaning in and maybe holding a handbags and lady here just holding a hand bank and get dressed, just walking into the scene like that. And maybe she's got a friend here as well. The both heading towards closer into the scene. The legs I just sort of drop in his triangles like this to keep things simple. There are little bikes and stuff here as well with just sorcerer who few circles or something like that they're building in the middle here. Just draw this up. We actually can make it a little bit higher. Like around here. Makes it come down like this, rooftop like this. Here. Let's have a look, maybe like a bit more, actually like that. The tower in. Let's get this bit first. Bit that just sticks out of the roof. Interesting thing, it's got to also assign to that Roxy the right-hand side area here too. Which is pretty important to give it a sense of dimensionality. There we go. I just drew it that down like that. Then we'll get in this edge there that building. Something like that. And really it should probably be a bit more to the right. It doesn't matter. We'll make do, we'll make do with it. We know that we've got a kind of a little flag here as well. You can see it just a little flag sticking up this section. The building has all kinds of details in here, but with the pen. So it's just, it's a good idea just to get in a little bit of detail and scratching in here and there, but not to over define anything. I found that Tim ruined the painting. If you put an older pencil work and think too much about it. Let's continue to go up into the tower. We're going to just put in this section here like that. It gets a little bit trickier to go out because you needed to make sure that we're not going too far to the top of the top of the page. So we might have this section like these. Here. I'm just going to put in this kind of top of it which has this railing. Tricky. We'll just put that in. That's going to be again, that right-hand side of it give you a bit of a three-dimensional look like that. There is a clock even in the center. And here it's not super apparent, but you can definitely see that there is a clock there. Some windows, well-rounded. Some railing along the top as well, some spires or that kind of thing up at top. Okay. But apart from that, I don't see you all too much else. To add on e-mail. It looks like just enough detail. Let's put in some more buildings. Is this building here to the right? The left coming in like that is a bit of darkness at the bottom here. Perhaps. They're getting a bit of this roof top as well coming in there, perhaps. Good of that building. And of course this larger one here. Also we actually have a little umbrella coming in little closer like this on the left-hand side and a figure, larger figure just walking in this direction. Just getting some legs. And a smaller figure here as well. And getting some details for that figure. Like that. There's actually some loot boxes or area down the back which is part of the garden bed or where the customers and what have you sitting down? Just put that into your drawing a bit of detail there. This is a lamppost, something realize that before, but there is a little lamp posts you so I'll just drawing some indication of that, may also try to get in another lampposts here. Find that once you put one in, the other ones start to appear. I think having a couple in here or perhaps even and even a few of them can be a good idea. Getting in this side of this building like that. Top, like this. Just the beauty of the rooftop, simplify down, simplify down. That building into it'd be like that here. And we've got a bit of these little archways at the base of the building like this. I'm just putting a bit more detail. Even the tops of these buildings, but there's a lot of it we can get in later with the watercolors. It's just a bit of a quick indication first. Some figures That's display some of them. Wherever in the distance. Like these, they could just be group of friends or they could be someone just walking in this direction like that. Try to make them a bit more varied. Have some little ones in the background as well. I don't really take my my pencil off the paper when I'm drawing these smaller ones in the background, there's not too much of a need to. I can just scribble them in and figure it out as we go. Let's drawing done. Not all that much to it. Let's go in there and get some color in. I'm going to pick up some buff titanium first and let's just go into this building to the right here. She's all going to be pretty dark on the right-hand side, but I'll mix up just a little bit of this buff titanium, little bit of yellow ocher as well. I like to have older buildings, do all the buildings with a beautiful warmer kind of wash here because they are they do have a warmer sort of huge of them. We can always go over the top with a darker color later. So just a bit of color and I like to just cut around the figures as well. If you get a chance to the ground, Let's put in some more color here. Even in the buildings dropping a bit of color as well. I think that tested these little what she would call them little umbrellas. Dash of color in there as well. Little bit of little bit of buff titanium like that. And we can of course just cut around them later. But just a little bit of that to start with. Go around. We're just going to cut around these figures here, here. Here are some of the figures in the background. We are going to need to touch really just like to cut around them so I can put in some more color for their shirts and stuff like that. Around this left-hand side, you'll notice I'm going very, very light, except for maybe the bottom where I'm dropping a bit of color like that and a little bit just a little bit of color there. But for the rest of it, I'm just going to soften that down and create a really light wash is go over this. Here's womb. I put it in a bit more yellow, more yellow to give it some a bit more saturation. These buildings, sometimes a bit of orange can help create some vibrancy. We would have orange like that coming down. Just a bit. Yellow ocher there on the side of that building. And same with this building here. Let's get some more color in. Notice how I let everything mix as well. That it joins up together. Great. There we go. We're going to get the whole building in like that. And sometimes you can even just leave some whites in the future if you want to. Should do it. I'm gonna get in the sky wash now. Just for dropping a quick bit of color of that left side, a sky wash. Know what's good as well as if you do have some width sections in here, you can already begin to just drop in little paint to indicate some softer wet regions in here, darker regions in there. But I'm gonna go ahead and get that serene blue and just picking up a thin wash of cerulean blue. Just drop that in. I'm using this same mop brush and I want the sky to be really light as well. So this is mainly, believe it or not, it's mainly just water. Go around. You'll notice it does mix it and mix a bit into the, the yellow as well. Not in all places, but in some places. Here, we can let that mix a little bit to form slightly softer edges and it joins joins on a bit more naturally than if I didn't do that. Let's just move this down like that. Yet. A fun that if you use, if you use a bit of yellow ocher in the buildings and then you go in with this cerulean blue, you're less likely to actually mix up a green. Just one of the tricks that I've learned. If you do, it's a very dull sort of green. That isn't obvious. Fantastic. We're almost there in terms of the first wash. What I do like to play around with at the moment is perhaps a bit of coolness and a bit of color into the figures. Some of these little bit of color I'm dropping in here to the figures. Just to spice things up a bit, add a bit of coloring here. But it's still pretty light. Just to drop in. Make sure those figures appeal like this. Still. There actually there. Some of them you don't have to color in it. You can just leave them white. But I do like to darken most of them actually. Then I can join on their bodies with the shadow coming down towards the ground. Mop up any bits that look a bit funny. And I'm going to give this over a quick dry. 13. Bruges: Shadows: That the first wash is done. We're going to start putting in some extra colors and some details basically in the buildings we're going to need to dark and some of them off to create shadows. I've got myself. I think this is a number eight round brush. I've also got here watercolor mop brushes, a smaller brush. That's a 303 slash 0. And this is actually number ten round brush. This is a synthetic round brush and that allows me to get in a bit more detailed than the bristles are a little bit stiffer and they carry less water. The first thing I'm going to want to do is to create a shadow that runs across the buildings, especially at these ones to the right. So I'm picking up a bit of this blue, maybe a bit of purple. We have ultramarine blue and a little bit of pre-mixed purple that I got mixing that and some browns here as well. But I really want to getting a good mix of this color in here. Just a good mix. And if I go back to it, pick up some of that color. Should be a little different every time. And that's the interesting thing about having nice combination of colors from your doc is tones. I'm going to go straight in and let's just drop that in and let's have a look. It looks all right. Again, it's probably a bit better, just a little darker. Drop that in and out. When I'm using this other brushes as well, you'll find perhaps I might be able to get in just a teeny bit more detail. Oops, that top bit hasn't completely dried yet. That's okay. Continue on. Bring that down like this. Here. There's the top and touches the top there. I'm going to bring this all the way across like this as well. Come down the page. That whole building. I'm just trying to getting 11 big go. I might put in a bit of burnt sienna and years well, that drop that in. A bit of cutting around this figure here, like that. Fantastic. Continue on. You start to realize and figure out whether that's building is dark enough or not. Whether you want to alter bits and pieces and kind of decided here that I want to put in a bit more colour, bit more darkness actually fully in here. So just join that all up like that. Just leave a bit of light or something coming through like that. Fantastic. You're going to get to some of these bits coming down as well for the, what you call them, the bits of the shade. The good thing is just that we can also use this opportunity to cut around these, which you call them these little, these little umbrellas and shades. Okay. Just a tiny bit of this here in there. Leave in some areas, but underneath that umbrella, put another one here. There's another umbrella here as well like that. So just be mindful that cut around them, leave just little indications of these triangular shapes like that. And it helps if you've got what I'm doing now, just mixing up a really dark color and a lot of that color as well so that you don't have to keep going back and trying to decide what it's going to whether you got enough. We're not we're trying to get in a real dark wash all the way through here underneath around these people like that. But as we get near the buildings, what I find is really the ones in the backup, but we'll just put in a bit more burnt sienna here to get a kind of a brownie mix for that building and perhaps lightened it a touch as well. It's okay, we can join them up a bit too. And of course, putting a bit of extra darkness in there too, like that. There's Assad of that building. We can just leave. And leave out like that. The rooftop of that building, we can either just leave it in or getting a very, very light wash of color on top of it like that. But I'll leave the right-hand side more illuminated. This fantastic. Just continue on. Continuing on. Here, Let's have a look disproof top here is a bit bluish, bit more bluish or adding a bit of ultramarine to blend that on a touch like that. Come down here further down is putting a bit of this detail. The edge like that. I do like to swap two smaller brushes as I go into detailed regions. It makes things a whole lot easier. If you use a smaller brush, getting these fine touches of detail. They really do make a difference. There we go. Let's put it another bit of the rooftop. There's something sticking out. There's a, I forgot to put in this flags and there's a little flag here as well. Just a quick indication. Fact that's kind of a flag as well. There coming in and I'm going to leave the right-hand side of that building. Kind of illuminated, but you can go through parts of it and do stuff like this. As you can see, just little marks in there to indicate windows or something like that. Coming up. Let's bring this up like that here. This bit of gonna be little more careful with because its main feature of this whole scene like that. And of course, a month soften because this part of the roof actually goes into it a bit more like this. Just comes down there. That's actually a bit better. Very, very subtle. But what are these? However, this is a little bit dark, so I might lift off some paint. Touch of paint like that. Continue on. Let's not get distracted. So the top of this top of this tower, the trick is yeah, Again, just darken in areas like this. Light might catch onto parts of the building. Just little bits on the top as well like that. Fantastic, just coming down like this. There we go. Just a bit of this. Spies or things coming up through the sides of the buildings is so helpful to get into bigger than bit of detail and starting to slowly come together. Work my way further down. I liked the top of it now, so I do want to just once it starts looking at okay, I'm gonna stop and continue on with some of this stuff here. And hopefully if it's not completely dried, it's gonna be better if I just leave it. Let it kind of mix in some areas. Just one big wash at the end of the day. One large shadow shape that I'm trying to find that connects everything up in the background. Leaves a bit of Lot in that right-hand side of the buildings like this. You can see and you can use the brushes, draw a bit more. Here. Beautiful these windows or something. I tend to make the windows a little lighter as we get towards the back. And because you're not gonna be able to see or too much of the details of those windows. Connect that up a bit like that. Here. There's a shadow on this building, starts at roughly here, as you can see. Then goes up into the actual building, mix up a bit more of this paint. Blue or purple and a bit of brown like this. Blue and a bit of brown. Careful not to make it too dark as well. Bit more blue in there. This is where things get a bit interesting as well, because as you can see on the buildings, There's actually a few little touches of details and what have you in on them. So it makes sense to just dropping some bits of colors and here, whatever you like this, as we move down as well, then the base here. Look. I'm going to get this to blend in a little bit to this slot. I'm putting a bit of water here. Just a bit of water and creating a soft hopefully soft transition. Soft transition. Fantastic. Cut around that umbrella also a little bit, just a bit of darkness underneath to connect up the shapes. Again, I think this also helps bring a bit of contrast in for these figures here to the right, which I want to indicate them being more in the sun, actually. Fantastic. These little figures here, Let's drop in some color. Just touch of colorful their bodies. You can of course make them cooler or warmer, whichever you like. Really. These ones, I'll put it in a British shadow on the left-hand side like that. They're stopped looking a bit too round. You can just ruffle up a bit of color in there like that. There's, well, see them all moving through this bit here. There's actually some spires and things, all kinds of details just sticking up on this building. But I am not interested in getting in all of that. I just want to indicate some something going on in here. Otherwise, I'm going to be painting all day. And I don't want that testing. Of course, the windows, which you can be able to see the windows a lot better later. But at the moment, It's not going to look like much. Just wanted to create a bit more sharpness around this umbrella or off lost some of it, but at least it looks more, little bit more like an actual umbrella. Toggle this thing. Just dropping some little tiny thrush, little RCA brush. I find these fantastic as well. I think getting in such small details when I usually just pick up a doc, a kind of paint. And then I just go in and do this kind of thing. Okay, Here's like that. So that it looks like there's more detail in there than there really is. Even it's almost like just dry brushing some bits and pieces on at times. A little bit of the implying that it dimensionality of the actual building. So important. Let me just restate some of that. Like that. So it kinda looks like there's a side to building a bit of a shadow for some of these things as well. You can put on it'll flag, you can reduce some of this stuff that was lost in that first wash. This middle building is so important and I really want to make sure I've got that rot on the first first wash across the ground. I've forgotten about that, but there's also a large shadow across the ground. So I'm going to go pick up a bit of blue. And I'll mix this blue in a little bit as well with some brown. I'm just picking at some of these blue and brown, each kind of paint. Gonna go in and just cut around the legs of these figures like this. I'm going to drip painting a shadow. Some of it's gonna be wet into wet. You can see he just went into wet. Let that go across lift. Here. Sort of shadow creating a shape. Some of it will join up with the shadows in the background while the dark areas in the background and some of it won't. Let me just see what we can do. Something like this. Here it kind of connects up some of the figures. We can have somebody come across the ground. And of course, logically like here, That's a bit of a guideline of where I'm going to put the shadow. When I have that. Of course the rest is a bit easier. We can just drop in that color like this. Down the base agrees. Bit more blue in here, a little bit more blue touch of blue. That good. Just join up that shadow. Just coming over to that. The left-hand side. Good good indication of what's of that shadow. Let's have a look. What else we can do here. Everything's starting to dry off now and it's we get damped, dampness and things in here. I can pick up a little bit of little bit of this brown and mixing a bit of blue, brown and blue. I'm going to go in here and try to indicate some of these dark doorways. And because this area is still wet, you can see it just melts in nicely. You just got to touch on the page, touch on a little bit like that. What else have we got? Maybe a bit here. Sort of doors just recede towards the back. Look, what else do we have going on in here? We've got a couple of light can these little lines running across there, we might have some windows touch of that and they're like that. Just for the indications of these windows that, that kind of the perspective of the buildings as well that you can get in these fantastic. These ones, they look a little less defined. But still certainly there, there's even a division between these buildings, but it's not too obvious. It's just going to try to create a broken edge or just to it, flat dry brushing in their dry brushing, just basically picking up a bit of paint and drying the brush and a bit of paper or the towel that you're using. That makes a big difference. Some of this stuff here is okay, I can get into a bit of that corner of that rooftop like that. And a few more little windows in here. I think that's about it. I don't really want to anything else in there. I'm actually quite happy with that amount of detail. I'm going to move over to this building right at the center. Now let's see what we can do. We can pick up, of course, smaller, little round brush, blue and brown just mixed together again. Just dropping, for example here that gets caught off. It's almost dry, but we can drop in a bit of darkness like that. For a couple of these little sections, they're more blue. Bit more blue. That's two kind of brownie blue. Constantly just trying to mix up something in the middle. That's bed or something like that. Just go across like that. A couple, they're just looking for little bits of detail that we might be able to draw out. The building. Just gone on it, accidentally gone on that umbrella, but that's okay. These three windows on the top, so just tiny little indication like that helps to indicate what's going on there. Fantastic. Sometimes also what's good As you're just going in and you can't have just use this to separate some parts of the building like that. You might get a link here to separate parts of it out like that. And these are kind of like the balustrades or something. The bell is true, especially with these little bits of the balconies. Balcony areas. Look beautiful, darkness to that left side. So just trying to indicate some details on here. It's kind of looking all right. Doc in this section a little bit to the left as well, this section of the rooftop. Because it is actually a little more in shadow due to this tower looming Taylor casting a shadow towards that left, left-hand side. So indicated beauty that while we've still got some witness in that area, really helps. Good. Put in this. Once you call it this little lamp here as well. Just going to draw that in. Just draw that in quickly like that with the brush. I'm going to talk in this part here, this little shape because it is coming out a bit more forward. Great. Some more details into these buildings here. These little, little bit to be desired in these sections. So some little darkness. I can just pick up and drop in. And especially near the base of some of these buildings where we've got dark areas kind of joining up. Even some parts of rush. I'm not even looking exactly what that ease. I'm just trying to indicate some of the dot beats in there. Of course, we've got some figures here that we were playing around with before, which I will just dock and around the back of them also to help draw them out a bit. One of these little tricks, negative painting, really fantastic. I think there's a lamppost to you, but I've forgotten to put it in. We might be able to get it in late up here, somewhere here that's doing a bit more later. But this is these two figures here that I want to draw around a bit better. I just get the legs in as well, just a bit more. Getting the legs to come down into the ground a bit like this. There's a couple person he is standing with the shade. I can get into a bit of the shadow running to the left. Same with this person as well. Just make sure that it is dark enough, that shadowy joining up. Okay. This person, he was just getting out of that shadow running to that left-hand side. Probably be more blue in there that's too brown. There we go. Lakes for the time being. Sometimes you can get in bits of this. For example, it could be shirt or jacket that this person is wearing. It could be holding a brief case or something. They're coming off to the left-hand side. A couple of people there. Some little shadows. The figures here in background and simplify them down as well. Joined, basically just joining on some of these legs to the left like this. That coupled with people standing around and walking, creating a little bit of commotion and movement. Here in the back of the same. Not much at all to indicate that, but you can certainly see putting some birds while I'm at it. Just a little v strokes in the sky like this. Running around like that. Some areas that this could be like a flock of birds or something. I've put in a blotch of paint there, but help just putting some more here. Sometimes they hang around near the top of the buildings as well. So I like to put in a bid at the top like this. Okay. I was kind of funny thing. Spread them about spread them about hearing the kind of running to the top of the page like this. Fantastic. We're almost done. It's just really putting in some of these faunal really dark bits and pieces for things like things like these. Umbrellas here. Or you could just add a bit more darkness or things around the side like that. We've got enough shadows for some of these figures here in the in the dock as well. So I'm not too worried about that. Maybe some of these doors I'm going to extend out a bit more, make it a bit dark, and especially this door here. Fantastic. It's also a good sometimes I just have a few little directional lines running through this scene like this. Something like that. Running towards a central point off in the background. Can just be like lines on the ground. Really. Fantastic. Continue just with a few bits and pieces, extra little windows up in there. What I'll do now is pick up a little bit of quash, little bit of white gouache that I have here on the the pellet with a little round brush. Just pick up a good amount of it. I'm going to just use this on some of the figures, all of them, but some of them perhaps just to draw out some highlights. Like this. The shoulders or kind of theme. I tend to pick up the gouache, dry it off a little bit on the draw draw it off, touch on the towel, and then continue on because we've got the light source coming from the right-hand side. You can get potentially more of this light coming off the back of these figures like this. That right-hand side. We might have even lost the figure back there. You can try to put that one back. Just mainly the heads of the heads and the shoulders. They make a big difference to draw them back out again. Just a little bit here and there, don't overdo it. I try to get in that lamp again. Life for that lamp. I think we had a lamp in here somewhere as well. They're difficult to see. Good. For that figure. That one. Shoulders and have you here as well, just touches of details like that, indicating perhaps some figures in there. There's a little bit of, put a bit of gouache for this, these two figures as well. Tiny bit like that. When overdo it. Grounds, should we get a bit of this tiny bit of washing there as well? Direction, directional lines. Just a little indication like that. We are finished. 14. Corsica: Light: I'm going to start with the horizon line here or the error right at the back where the buildings finish estimating that to be about 1 third from the bottom of the page. If we just look at separated out where the buildings and sort of around here, leaving another two-thirds for the little buildings at the flag and the sky. Just drawing a little line like this. Let's go ahead and the first thing I wanted to do isn't this simony, these buildings and they have so much detail here. And the challenge of this always just trying to reduce it down to have enough detail in there. But I want to make a big shape. So this will be the left buildings here. Coming up to the left like this. We can see it coming in right from the top section like this, coming out like that. Coming down. Perhaps it's just a little bit more of the buildings coming up to the backlit. Again, we want to have a look at about how far this building finishes in relation to the width of the page. And I'd estimate that to be about a quarter of the way through the page. Here's the middle, that's about a quarter. Now the other buildings start actually roundabout here, the left center, left center. So I'm gonna draw in a little basic law unlike these here. Just going to go in and put in some of the indications of the buildings like that will go up like that. There we have it. We have like a little silhouette of the buildings polemical just start joining up the buildings right in the center here. A little there. A little bit like that. I'm just simplifying them down into little squares shapes here in the distance. Um, because I don't want too much detail back there, but still enough to indicate that, yes, there, there are buildings in that region. Thing with these Italian buildings that you can see the roofs are very, very clearly. And so I just put a double line on top like that to indicate some of those buildings of the back. Now, these buildings here, they look a bit like apartment. So I really liked this style of seeing kind of Alley where there's little sharps. People living here, it's quite animated. What I'll do is just draw some lines separating out some of these buildings. So we might have that ability separated out like that. These are Pablo's. Here's another one like that. Now the one like these coming down, I'm just going to start getting in some of these lines coming across the top of the building like this to indicate the kind of the kind of perspective of the buildings. And there's a large door here. Really liked this. Cross the ground. You can actually see the footpath which just runs almost directly vertical like that. These little stones, you can see bricks and what have you There's a lot going on in here. I'm not exactly sure what's happening. It looks like there's some type of flowers here or something like that. So I can just perhaps getting indications of some flowers and I'll exaggerate these out a little bit actually to make them bigger than they actually are. Like a pot, pot plant here or something like that. Here just on the verge. They're just like a plant. There's a motorcycle. It looks like a motorcycle. Something here. Something simple. I don't know exactly what that might be, but it looks like a motorcycle. The door the door of this place sort of runs through this arch like that. I'm going to get this arch in like this. And the general perspective of the building running like this. Running towards the center, vanishing point right about there. Getting some more of the footpath. It kinda comes in like this and hits the edge of the paper there, the corner of the paper. There's a sidestep and there's some people here. And the great thing with these figures is that they start to really bring some life to the scene. And for the ones that are really close, especially, I like to just draw them in first and make sure that they don't overlap too much. So for example, here's a figure. I'll just make one a bit bigger, quite close to the center of the same like this. And it's a leg, butt legs close together like that. Perhaps somebody have another person just next, like this as well. Just walking into the scene through the scene like that. These little these little what you'd call them these little. Shades here are quite common with Italian sort of buildings and sort of proceed and sort of scenes as well. So I'm going to just draw one in this quick. We got another one. They just start to overlap and gets smaller as you go into the background. Another one here like that. And of course, some, it's in pieces. People standing around doing what have you. The distance. Let's get this little sharp. Kind of like a shop front here. We'll extend this downwards like that just to get in the doorway of the shop here. Just extend out there building a little bit like that as well. Good time to put in some windows and some little separations in the building, and it doesn't have to be exactly the way it seems like on the reference, but a few larger windows, I think we'd be good. One there. See the shutters on that window. Got another one here, like this. Some chateaus open. That one up here as well, disappearing off the top of the building there as well. Then we're gonna do the same thing for these other ones. Let's drop in a few more, few more little bits and pieces like that. There. Keep in mind that a lot of this stuff we will get in with the paint and the brush afterwards. So it doesn't have to be you don't have to get in all the details and everything just moving indication of where the buildings lie. The big shapes, if you can get the big shapes in and they make sense, you'll be completely fine. Focus on the big shapes, little details. Leave that up for the brushwork later. You can save yourself some time. I'll put in some more smaller figures here as well. Just a small person sort of walking off into the distance. I like to get all these overlapping people and walking around and doing stuff. Some people just standing around here and the distance might even have a person here just look like they're walking into the shop to the left. For example, here as well. These figures would be good because they're going to cost a bit of a shadow to the right-hand side as well. But I think that's about it. I think that's useful. The the drawing, what I like to do is pick up almost the lightest yellow that I can find. And if you have a yellow that's not too vibrant as well, you can just dilute it down to a very, very lot and makes probably say, 80% water to 20, 20% percent paint. Another, another interesting thing to do as well. If you go to a little brush, little round brush, what you can do with the round brush is you can pick up a tiny bit of blue paint, tiny bit of this cerulean blue. I use the cerulean blue to just drop into the windows before I actually go into the yellow. The reason why I do that is it can be tricky afterwards. If you want to put the blue on top, you find that it can mix into the yellow. So I like to just put in a little wash of blue. Don't worry about getting the exact details because at the moment all we're doing is just putting colors, just some really soft colors in there. In terms of the sharpness and the detailing of it, that will be later. Right now, we just want to get a soft wash. And often at this stage it looks like nothing. And you may think that it's not working out, but it's not even at the 10% stages. Little bit of blue in there. I think it's nice because it implies that the sky is reflecting through some of the windows, that kind of thing. Now, not all the windows here are blue, some of them are just shadows, but that doesn't matter. We can still go in and color of the top of another color afterwards if we choose. What I'm doing now is just picking up a bit of little bit of yellow ocher. I'm going to drop that straight in with a consistency of about 80% water and 20% paints. So it's very light, very light. Just drop that in and around the blue of the windows. Can use a smaller brush as well. If it allows you to get a bit more control. Just kind of drop around. In some areas you want to let the window, the blue of the window mixed with the yellow. And in some parts you wanted to create a sort of sharp edge so you just stand, avoid the blue. So you have these kind of Lost and Found edges. Essentially some edges which are a little bit lighter, a little bit software and mixed together. And you've got some which basically basically. Shopper, I'm going to go in and just dropping a bit of paint all over. Good. Now the reason why I'm being a bit careful in these buildings is because there's blue in there. You're just cutting around a bit of the blue. But really for the rest of this painting, you'll see how simple it is. Once you get the cut around and be the blue of the buildings as you move towards the back as well. I just lighten up, put a bit more lighter paint in the back by just diluting down the water. Don't be afraid to just move your brush around the page and create some, some interesting textures and just see what happens. It's good to dropping a little bit of color here and there. Now, that's probably the top bit. Now at the way, the rest of it is just picking up warm colors. Here I've got a bit of and just have fun thinking about what colors you want in this mix. I like, I really liked this yellow ocher, but I also liked these orangey color that I have these kind of granulating orange colors. So I'm just going around and where the figures are, cut around them and leave them leave them white. And the reason why is so that you can go in after with a bit of the color. Often if you use color, the whole thing in all the figures in the same color with that yellow or orange over the top. Often what can happen is that it just just disappears and you're not able to try go over with the blue and it doesn't look as vibrant. Water control is really important because you notice that I constantly go back to a little tau here. Because when you often, when you go and pick up paint, often your whole brush and you go back into the water, your whole brush is gonna be saturated. It can be a lot of water in there. And at times it's going to be too much. You have to look at the area that you painting. Here, for example, we're doing the floor, the ground. And look at that. It's just so simple. Just dropping in paint, that light paint all the way through the ground. Letting that mop brush sort of flip around and do its thing and the goods, the great thing about mop brushes, I love more brushes and how versatile they are. Now, I like this kind of indication of some flowers here. I don't know if they, I think they are flowers over in this section, putting a bit of yellow in there, tiny bit of yellow, perhaps a bit of green, tiny bit of green in there as well. Keep all the colors super light. The green has obviously look unnaturally dark atone. But what we're doing is just allowing everything to mix in there. It's not going to look like anything to begin with. A bit more darkness on the ground here to connect it all up. Then we're gonna do the building on the left-hand side, just picking up some yellow ocher and drop that in. This is only a few brushstrokes that it takes to get in this building. With a loose style like this, you often you only need a few brushstrokes really to imply something. I know it goes all the way up into the sky like that. Stops there, comes down like that. There we have it. We're done with all these buildings. One thing that we haven't done though, the sky at the moment, there's a lot of certainly a lot of the warm colors and a lot of colors in there. That's all that we want to get in for the time being. The sky. It's just a beautiful cerulean. I just pick up a bit, It's ruling. Drop that in the one thing I wanted to do with this, I want to make that cerulean pretty dark. Almost pick it up. Just a really dark section of that and then cut through like that. Some of it's gonna mixing with the buildings. But what you can do is you leave a little white edge. And surprisingly, it doesn't mix. Why am I doing this? Why am I making the sky so doc? Well, I want to get I want to make the buildings pop out a little bit because the buildings are still wet. You can see that the kind of mixes the sky mixes into the buildings very, very slightly. But in some areas because I stopped just before the yellow, it doesn't mix. There. We have it. We've got the sky. Good, the buildings. We've got the ground. We're pretty much done with that first wash. What I'd like to do as well while I'm here is I noted the figures being so we've left that lifts, lift some color out them like to pick up a bit of color and drop it in there for good measure. So a bit of cerulean here, I think for this figure would be good just for the shirt or something. I've got to kind of pinkish color here. We can put a bit of pink for that one. Just drop it in. Before you drop the color in. Pick up the color, dry your brush off on a bit of tissue or on a, on a towel and then just feather it in. Just feather it in. Try to see challenge yourself and see if I can get in this, getting the top of this person. Something that they wearing in just a couple of brushstrokes. I'm using a lot of really bright, vibrant colors here because I like this. I don't know, I'm just choosing that color scheme, but you can of course, go darker if you want, but tend to go lighter in this first wash so that I can still see what's going on. And if I want to make it darker later, I can also go through and dock in it. So that's about it. We'll go through and we'll we will dry this off and come back and do the final, the final layout. 15. Corsica: Shadows: The next challenge that we need to work on now, the most fun part I love doing this part is putting the shadows in. So what I'd like to do here is to pick up a bit of a darker, little bit of a darker paint on the palette. I'm mixing up a bit of ultramarine blue and a little bit of brown, tiny bit of ultramarine blue and brown to get a darker color overall. Okay. How dark though? That's the question. I'd say about 50% water, 50% paint. Now, I'm gonna go straight over the top of this building like that and let's just test it. Let's see, Is that is that dark enough? Probably too dark. Let me just dilute that a little bit. You can still you want to make it dark enough so that you can still see a bit of that yellow coming through the back of the building. The layering of it is going to make it interesting, even if some of it is a bit inconsistent. The good thing is that it actually still looks good. I'll leave a bit of that yellow even on top of that building like that. And we'll see what happens there. Don't be afraid to just leave out, leave pieces of that previous wash in there. It doesn't just because just because I'm darkening that area, it doesn't mean you have to darken the entire the entire scene. We've got these flowers down the front as well, which are fantastic. Because again, I'm going to just use this wash to cut around those flowers. Just darkening, essentially just darkening this entire building with one wash. Keeping it fairly uniform all the way through. There's a move down the bottom. I'm just going to cut around the flowers a bit like this. Just a little bit of those flowers to help some of them stick out. I don't even know what they are, but it looks like an enormous flower. It doesn't matter. We'll just leave a bit up like that, like that. Now what I'll do is just darken a little bit in the buildings here in the distance. Just carry over kind of like some shadow effects like this. Just in some of them, but I don't want to darken the entire lot, the buildings right in the distance. You want to make sure that the water that you're using there is just so mainly water and a tiny, tiny little bit of paint. Because the buildings to the left, they are going to be darker than the buildings right at the back. That's a bit of a door that are put in. The aim of this aim of this entire washes to just get in large shadow shape. We're still not trying to get in any details, that kind of thing across the ground. Let's have a look at where the shadow is. Might start and finish. So we know they kind of come through here. I'm going to exaggerate, draped them a little bit to make it sort of come out kind of like these, like that. Essentially color in this whole bit and cut around the figures in the, in the legs. Like that. The interesting thing is that this figure here on the right, the shadow is going to run over into the light as well. Leave a bit of that here. I'm gonna previous wash this is I think this is like a bit of that motorcycle or something. I'll just indicate here that seat. While I've got the figures here, I can just drop in a touch of paint to indicate the legs of the figures. The shadows of the figures running across there like that. Little bit of a shadow for that figure. Shadow for this figure like that. Coming over to that right-hand side there, bottom of the painting, I always like to drop in touch more paint, just a little bit more paper. That's your shadow done basically for the main buildings. What you want to do now is start looking at some of the shadows underneath these right-hand side buildings. Underneath these shades, you'll see it's quite dark, but not as dark as say the left-hand the ground. But this is going to just allow me to cut around. Just wanted to cut around a little bit like that to indicate some shadow underneath the shades. Like this, underneath this heart as well. You can even see the shadow, it kind of pop out on the ground here a little bit like that. Trick is to do this all in one go. It always looks a bit weird when you, when you when you put in the shadows. But that's because it's in the absence of any detail later. But it will make sense once we have all the other bits and pieces in darkness there. Also good to just start putting in a little bit of shadow underneath the windows. Just a little light shadow under the windows. If you use a smaller brush as well, it really helps. Just drop in a bit here, a little shadow underneath the window is like that. The consistency of the paint is still mainly water, 50 to 60% water, and only a little bit of paint. Just to create a soft shadows, maybe running towards the bottom into the right-hand side of the windows, just dropping something like that. Some of these other ones here, just a little bit here. Here. Broken edges work so well too. So when you're drawing in the windows, you kind of what you're doing is that you're also, if you have to draw it in any sort of straight lines, make sure those lines are broken up very, very slightly so they don't connect completely because often for some reason, when you try to draw any straight lines and watercolor, it just looks sometimes just looks a bit to put together. And too neat. I always sort of just try to draw a little bits, pick up the brush, touching, go in areas. I'm not I didn't even know when I'm painting off the top. I'm just looking at the light and the dark in these sections. And going with what I think be the case, we've got this large shadow basically running across this entire scene. Now, really, the last bit of this painting is to work on getting in the final really, really dark bits. Running through the scene. I like to just while the paint's do it, I sometimes just dropping a bit of paint there to get in some of the darker shapes. So I've got a bit of that door, so I'll pick up a bit of dark paint, dry the brush off, and then drop it in, dry the brush. Because when you're picking up a lot, when you're going into an area that's already wet. If you introduce additional water into the area, what happens is it starts to bloom and look a bit funny. So that's why I always want to pick up paint. I'll pick it up, dry the brush, and then drop it back in there. That makes it look a bit more, a bit more neater. Good. We're getting there. And normally what I do is I wait for this to dry off dr. Slightly, but I think what I'll do is actually start working on getting in the really dark bits and errs. On the right-hand side, this is where I pick up this really small brush. So if you've got like number four round brush or something like that, I'd recommend using something like this. And this is where you can utilize some of those drawing skills. And that's why I always say drawing and painting in many ways are so alike. Here you're basically just peeking out little bits of detail. Here's an example for the Windows. You'll notice the windows have these little slits in them. So I might pick up a bit of that black paint, a darker paint, and I'll just draw in a few slides like that. And one of the key differences when you're painting and watercolors versus it does say alls or acrylics is that you can constantly go over things in oils and acrylics, but when you try to do the same in watercolor, you lose that freshness. So you have to have the intention to finish it off. In one go. When you paint in watercolors, you just have to think, hey, I got to get this window in and I know I've got to get these slates in. Git, draw that in one, go like that. I'll leave it. One of the things that often can frustrate people is they look at something they've painted. It doesn't look the way that they want it to look. And then they pick up the brush again and they tried to redo it and redo it and redo it over and over again. And then everything just tends to mixed together. So you have to, except I think watercolors is something that has taught me to accept making mistakes. Because at every point of the way, you're making mistakes in watercolor. Because it does what it wants to do a little at the time. In many ways, watercolors has taught me to be a better. Told me to be better at drawing because of how how permanent the lines are once you put them in. Let's have a look. What else can we do? We've got certainly some little bit more here on the tops of the buildings, like the separation in-between the buildings like this. I can just outline a bit more than they're separate out a few little pieces, bits and pieces. Notice when I draw, when I paint in a bit, I never really go back into it again. I draw the line, I paint that in, and then I just leave it. That goes back to what I was saying before with, when you with watercolors, that the freshness you lose, the freshness if you keep going back into things. If it doesn't work out, if that wash isn't the way that you want it to look the first time you go in there. Let it dry paint, make that mistake accepted. Let it dry and always looks a bit better when it dries. And then you might decide to yourself, Hey, I want to go over it a second time round. I think that's probably one of the best ways to approach it. That shutter there side of the building here just a weird sort of hits the ground like that. Great. Few more bits and pieces at the back. We can just put in a little bit of notice on the buildings, a little separation down the center of the buildings. I pick up that paint. Again. I draw the lines so that they kind of broken lines. If I ever have to draw a straight line, it doesn't matter what kind of straight line it is. I'll intentionally pick up the brush and move it around a bit and then come down. And that really helps to make it all look a little more natural in a strange way. It just works. These buildings here in the back, a little bit of rooftop here, a bit of connectors, some horizontal lines running to the left side like that underneath there as well. I think also what I wanted to do is create a bit of extra darkness around the figures. I'll just darken it a bit in here, but not everywhere, but just a bit around the figures like these. These verticals running down like that. Okay. Sometimes I'll pick up a larger brush like this. Pickup, a super light wash of color and get some software sort of shadow is running through this quick little spreading, short sort of shadows. Good. I'm going to draw off that left-hand side and we'll do the same thing. Again. We're gonna go into that left-hand side, pick up some of this darker paint and detail, the layers, the floors on this building like this. You can see I'm just drawing in a few little lines running through, separating out, helping with that perspective as well. I've lost this little building, this door of the building here, so I'm just going to go in there and read dark and this doorway like this. Okay. Quick little bit like that and I'll just get a sharp edge there as well. We'll carry some of these lines across the building as well like this, like this. Some separations on the buildings like that. You may even want to just indicate some windows. This a little bit on top of the roof like this. You often find on top of the buildings, you might get these little pieces sticking out like antennas and stuff. Sometimes I just indicate a bit of that. But don't overdo it. Put in another window here, just dry brush a few windows on the left-hand side. Like that. Of course, a lot of those details in the background or have stopped the disappear but small dots, they're just indicates some windows and whatever you the figures now, I'm going to go ahead and start to put in the legs and a bit more detail for the legs. I'm just going to darken the legs down a fair bit and just see if I can, if I can just simplify these links down like that. Redo this shadow moving towards the right-hand side there. We've got this figure here as well. There we go. And just bringing shadow towards that right side as well, connecting everything up. Often they have figures wherever little shadow on the right-hand side. If you've got a when this sort of circumstances, especially when you've got a light source to the left. So I just soften and dark and the side that's not facing the sun. Here, the figures in the background as well, just a little bit of extra darkness on the legs. Bring those out. Here, a few more here, just to brushstrokes to get in those legs really, there's not much detailing or work going into those ones. Always take this opportunity as well to start putting in some of these perspective lines running through and not just dropping this side of the footpath here like that. Very soft indication of that. Something here. Maybe a bit running down here. Oops, strike, maybe here. Good. You'd be surprised that many points. When I've finished the painting, I always, I sometimes think that I've stuffed it up and it just didn't look anything like what I wanted it to be. But in so many paintings I've found that just having a bit of gouache saved the day because you suddenly can recover. You can recover the warmth in the scene in the painting. So for example, this bit here, and I think I've lost, almost lost the head of this figure. It's just gone, disappeared in there. I've made it worse now. But what I can do is I can just go in and drop in a bit of gouache inside recovered the heart of that figure. But basically that's the endpoint. The same. Just by putting in a bit of the gouache. I like to mix white gouache as well with some of my normal watercolor paints. Here's a bit of whitewash and I might go a little green, a little bit of green and a little bit of yellow. And I can create some opaque kind of leaves here for this sum. For this plant on the left, I tend to pick a brush that has the same shape as the thing that I'm trying to paint. So I want to pick a round brush to get these leaves in. This will help. Some of the leaves look. I'm making them come all the way across onto the, onto the footpath as well as if this plant is just really far in the foreground. Something different that I tried, but I don't know if it worked, but why not Why not getting a few branches or something as well, since we're here, little branches coming in from the side. Let's have a look what else we can do. Like I said, I'd lost a bit of the faces and stuff like that of the figures. So I'll pick up a bit of red mixed with some gouache, little bit of white gouache. And I've got a pinkish color which I can use to just drop in for the faces. And it's up to you. You can use different skin tones. I'm just going to use pink because it's the easiest one. And also because we've got a lot of darkness running through the area. And of course here, this is the bit that I had lost the figure's head. Now I've managed to recover. It. Just comes in to save the day. In so many occasions. You can even put, say for this, a person who you can make another figure here, just standing around, doing whatever. Underneath this area too. You can bring out figures, you can you can make some of them disappear. It's quite a versatile tool to use. Also like to just play around and put some hair in for some of these, some of these figures as well. Just drop in a bit of just dropping a bit of painting the hair for the hair. I've learned so much by just playing around with mixing techniques on paper. Most of the things I've learned in watercolor, paintings that didn't work out. Because I had that brush mileage. Again, that brush mileage by practicing. What will happen if I do this? If I use more water or if I use less water, that kind of thing. We're almost almost done with this one. I just like to put in a few little maybe splotches of kind of like a creamy yellow color for some of these background areas. Because what's happened is that I've realized I've not gone too dark in the background like that. Again, a bit of quash. Drop that in here at the back with some yellow. Instantaneously, you can recover some of that some of that warmth at the back there. Not only that, you can do some of that here in the foreground where we've got some of these buildings. Here. You might want to have a pole or something like that that just connects with the ground. Here. We can do that a little bit of opaque qualities in their mixing. Warm and cool areas together, light and dark areas together. They sometimes just create some incredible combinations. And you have to have faith. You have to have faith. Because 90% of the watercolor painting, it doesn't look like anything. The little finishing touches at the end of the figures head or shadow, shoulder or something like that. It often makes a world of difference. This is putting in a bit more for this figure. You can just see already some things coming through. Sometimes when you've got all these figures with all this light in there, I also just like to darken up some of them in there to create contrasts so that figure there are dark and these ones in the background, I'll actually dock and out more like that. And then these ones in the front, I'll just keep perhaps a little bit lighter to indicate perhaps there's some light bouncing off them. Brown for this person's hair as well. Like that. Always clean your brush before going into another area. This is a bit of cerulean blue. And I'll exaggerate that by mixing it with some wash and whitewash that we can get in some more couple of matching shirts for these guys like that. Good. And sometimes you start to see things in the building, little bits of blue perhaps in some of these windows and stuff. And so I'll pick up some more paint, perhaps in the ground, even you might have a bit of blue here on the ground. Just to create the sort of perspective lines, I'll pick up another color and I'll use that as well. Let's put in some little birds as well in the sky, just a little v shapes like this. Some of them running through the buildings as well. They help connect the sky up. Just these little v sort of looking shapes like this. I think that I'll call that one done. 16. Cusco, Peru: Light: This amazing photograph, and it's quite complicated when you look at it straight up. But what are we going to do is simplify everything down and try to just get in all the little details of the buildings. Not everything but bits and pieces to indicate the same. I think what's really interesting is the light on the sides of the buildings here to the left. And I was little bit of the lights on the buildings in the background. I'm going to try to also emphasize a bit more light coming across the street. Now I can see right in the middle of the scenes, in the middle of the road, you can see a bit of it that's illuminated and there's a few people there. What have you. So we're going to actually extend that out. I'm going to make the light go straight across from us like a strip of light and see how we go with that because a lot of it is actually quite dark. So first thing I'm gonna do is I'm going to perform a really quick lawn here. It's almost like it's a bit of a horizon line, but then you can see the back here where it kind of goes up, the street actually goes up in the background. So what I want to do is firstly, just makes sure that we've got a decent enough drawing. Now, one of the, probably the easiest thing to draw in is that horizon lab. We really got to make sure that it's in the right spot. So I'm looking at it and it's odd, say about a quarter of the way up the page, almost about the quarter of the web page estimated there. Now, we're going to look at the next thing to draw in. On this right-hand side, I have noticed these kind of war that goes up and you can see it stops right about here, about a third of the way down from the top. And so we can just estimated to be around there. And then it comes in from around here, comes through the page and sort of just gets smaller as we go down. I'm going to just estimate that out to come around, something like that around this. Then we'll make this goes actually quite small further down. And I'm going to just simplify it down a bit more. And then I'm going to just draw this so that it comes all the way out here as well so that the wall basically looks like there's a wall there. What while I'm here, I'm going to also place a small figure, perhaps her over in this section they adjusted show the scale of this wall. Now I can see, of course there is a few other bits and pieces here and the buildings, I think probably the trickiest parts once you've got the buildings in the rest of it can be putting fairly easily. We're going to go up and I'm just going to again, just reassess where this wall finishes. Might just draw it up just a little bit straighter like that. And then we'll get into this war, this other building that comes all the way up here and kind of exits out top like that, something like this. And you can actually see this Windows already. And I'm just sort of on the side of that building, which I'm going to indicate like this. You can just see little little windows. I'm not really painting, drawing the mean, but I will paint them in afterwards with a bit more detail. Now, how can we get in these buildings? And of course tried to simplify them down. So what I'm gonna do is I'm gonna simplify this side of the building down. And I know it goes up a little bit further than that wall kind of around here. Just comparing it to their side of the wall, comes down like this into the page. Like across there. I'm going to bring this ran a bit here. Again with this kind of a guide or something like that. He was so many people just kind of walking around. The great thing is that you can just overlap everything over the top, like that. Here we go. I'm just going to get in the side of this building which are no kind of just crosses over like this. And then we've got another part of the building. In fact, these kind of comes down about here. Part of the building kind of comes up all the way to roundabout here. Let me just extend this building out further. This one comes up behind. And I'm not trying to get into a 100% accuracy. He just making sure that there's enough detail on this building sides of it, especially to indicate what's going on underneath the rooftop as well. I think this is quite important to also indicate a bit of this rooftop or what have you coming down. You can see also, some of the windows started to come through, show through like that. Some doors and what have you. So we can put in a few of these down the base as well, like this. Fantastic. I'll just get that bit of the roof to stick out a little bit more like that. There we have it. Here's another bit of the building and we know it's sort of, you can see the side of it come out like this. Just drop down around about here. Certainly, I think this is on a bit more of an angle than I've seen in the reference, but we will make will make do with it. Okay. That's the top of the roof of that building here in the background. Again, you have these sort of bits that sort of stick out the edge of the roof there. And then they go in again like this, kind of like these little shades and casts a bit of shadow underneath the building there like that. You can go ahead and put in a few of these little indications of windows and stuff like that. Another thing I noticed is that there are these kind of shades near the base of the buildings here indicate little shades or what have you near the doors. Um, but a lot of these buildings that actually covered up a fair bit by all the commotion going on in the foreground. And part of that is this car, which I thought, hey, let's seeing is we're down here, let's just draw this car in. And I'm just looking at the wind screen is kind of like a rectangular shape. And then we're going to get the front of that car coming forward like this with a bid of putting on those lights here to the top part of the car like this little bit of the top of the roof section showing the back of the car. And then we've got the side. We'll hear wheel here and of course, put on the bumper and emphasize that we're all a bit more than a little little wheel here in the front like that. So it's not anything excessively complicated, but it certainly looks like a car. And the shadow will be nice as well. We can get a bit of a shadow cutting across. Another thing we can do is just get in some indications of people walking and what have you. There's a couple of legs. We can put some more people in here like that. Legs in different directions, going in different directions, looking at some of them are perhaps standing in one location and some of them I'll just walking around. Another thing I will do is probably met you extend some of the legs down a little bit more and increase the size of the body. Some of them, it should be probably a little bit closer down the road to the car. I'm going to just putting another putting another one here that's a teeny bit closer because the elevation of the ground is kind of funny. It's a bit all over the place, but we still want the heads to match up generally on the horizon line. Here in the background. I love these umbrellas. Look at that. These umbrellas that you can just simplify down into these kind of dome shapes like that. And we can do something about them afterwards. But splash of color or something like that would be fantastic for them. And always remember to make those figures in the background a bit smaller. I got this one here, of course, in the foreground. And I do want to make that figure a little bit bigger too. So this will be interesting because again, I'm going to just change it up a bit so that there is perhaps just a flash of light here going across, going across the ground. Just another, another flash of light. Of course we've got someone top of the buildings, but I'm gonna change it around a little bit. And of course, we have some more figures here in the foreground. I can just put an ahead of that figure and then one leg like that and another lake kind of going forwards, looks like this lady is holding a jacket or something, which we can indicate in another person here, a backpack of some sort. They're walking into the scene. Again like that. Holding maybe holding onto something here. There is another car or a truck or something here. Rod in the background looks it could even be a bus. Actually, it looks a bit like a bus or something. I'm going to just indicate that there and again, over the top, who stopped putting some more people who say There's a lady here that has a bit of a pony tail and address and shorter legs here we can put that lady in fella, he holding some top of sack or something on his back. And I'll draw him in as well. Just like this. Fantastic, again, like these little gateway or whatever you whatever you call it here, you can see little bits of the fence. But defense that's sort of coming down and going in front behind sorry, the figures photo. I would put in a bit of that going in there. But you got the perspective basically coming from the back. That's your vanishing point right of grad across there. Okay. Oops. And then you've got to, you've got these lines that are emanating from that point right there in the background. That's how you generally makes sure that the perspective is on point. I want to draw these lines just coming all the way through the page, running towards the back and it starts already looking a bit 3D three-dimensional. Now let's have a look. What else do we want to draw? And we would go to these buildings in the background. We've got these mountains there as well. Let's start firstly by getting in a building here. No, it still comes out like this. Then it comes down here. Edge of the building like these. Again, just kind of coming down. This becomes part of the role or what have you there as well. Little bit messier than I anticipated, but we'll be okay. And of course, this rooftop as well, like this rooftop, and it's going to be darker on the left-hand side than it is on the right-hand side. But the interesting thing I want to change up as perhaps a bit of light peeking through here somehow. Didn't know how exactly I'm going to do it, but that's something with a bit of an angle like that would be interesting. Now let's get in a bit of this building here, which is just going up again behind the top of that building. And then we've got another rooftop area that sort of runs like that. It's not super important. This one is probably the most important one, the one rotten front. Interesting thing as well. We've got little signs and what have you in the road. So I can just use this opportunity to put in few little signs and interesting bits and pieces. Of course, you've got some figures off in the background where it gets smaller and smaller. This is an opportunity once again to just create this feeling of perspective of people getting smaller in the background and it kinda goes up in a heel here there's a little elevation. Their buildings here in the background too. Let's get into this big 1 first, this is gonna be the main, the main point of interest around the center of the page. So I'm just going to get down one of the sides of the tau is like these. And they kept these two little openings here, this, I'm just going to darken that down these two little openings quickly so that I don't forget that they are there in the first place here. This, I mean, it's actually quite complex and I'm trying to just simplify this down. There's a triangle on top, bits and pieces floating around everywhere. There's so much going on, but how can we simplify? So I just put it into this general shape there. That kind of a longer shape extending out with a triangular portion on the top like that. So you can see and scribbling in a little bit of details to the sides. Let's get in the center now we'll simplify this down and we'll make it go the middle of it. Actually, the middle of it kind of goes more around here. And then we've got the other side of this tower running down almost effect It's going going behind the what you call it the little bus or what have you. Before that down a bit in here again, let's mirror that left-hand sides, a couple of these little openings like that. Then let's put in a few top section again, just another kind of just mimicking that one to the left. Again, I'm not putting a whole lot of detail, as you can see. We'll play around with some of the watercolors later and getting some more details as we, as we need to. But at the moment I'm quite happy with just getting an a quick impression of it. I think you run into problems when you start trying to draw everything in exactly. You're just gonna get frustrated. You're just gonna get very frustrated. Always leave most of the work to the painting news. This is an opportunity as a kind of a way to, uh, suppose, plan out your painting because if you don't have a good plan and know generally where things are going to struggle later on. Here, I'm going to just put in a bit of this dome like structure here in the back. Again, it was like triangular, isn't it? Like the little top on it like that? That does it for a lot of the buildings. And the buildings. And you can see, of course here in the background, there are other smaller buildings of this kind of dissipating into the background until you can barely, of course see what is going on. Even some of these buildings here to the left, you can see some of them starting to disappear off as well. Fantastic. I thought as well, you notice we will have another person or a few other people, perhaps just a bit closer on this side of the scene because we've got, of course, so much going on here around the scene. We haven't got anyone here to that right-hand side. I'm not putting a couple of figures there. Just like that. Bring them a bit closer. Maybe this one's got a backpack or something like that. Of course, mark out a few more details. The bitewings dark. I'm just reminding myself where to go through with this. Now, the mountains in the back, Let's go very softly. And again, I'm not like I said, not really not really putting in too much detail here, just a little indication of where they are. In effect, I often just rub out this pot that it's very light. If you have an eraser that's a kind of softer one like this as well. That does the trick. I wanted to be just a little indicator so I know where to stop. I'm going to start doing the sky. But there's a lot going on in here, as you can see, there's all kinds of detailing and what have you. You can see lots of darkness and stuff. In GA, there's actually lots of little houses and what have you and buildings all the way up into the mountains. And I'm going to simplify this down. I will get this all in all the details in with the paintbrush. Let's go ahead and get started. I am going to be using a larger brush to begin with first and see my palette here on the right-hand side. You get an idea of what I'm doing. Now, a bit of mixing here. I'm going to be going with all the lighter colors. First, super-important to go the lighter colors because you're not gonna be able to recover. You're going to be a recoverable the lighter colors later unless you use gouache. So I always try my best to get in as much of the light as I can to start off with, this side of the building is actually a lot lighter than I've painted. It's coming. Look, it's almost it's homeless. Bright light yellowish tint to it. I'm going to go through with that first. The first step of this painting really is just to put in colors. We're not trying to get in details at all, just colors because if we focus on a really light wash, we're gonna be able to imply that sense of light. So always paint the light first and afterwards go with the shadows because it's trying to do things the opposite way round is, you're going to run into troubles. In watercolors. You have to do, often have to do the lots of speech first. Otherwise you risk losing a lot of that light if you're not careful. There's some people do it opposite way round and their own processes. But I've found, I do find that this works much better for me. And thinking lists, thinking I get the light at the way and then I'll go with the dark and beats afterwards the figures I like to cut around a bit like this. And of course, we do have some of these buildings here which just kind of like a yellow ocher color. I'm actually darker than that, which I'll have to indicate some some more later. But for the time being, I'm happy with how that looks. Sometimes I like to leave a bit of white on that right-hand side of the building as well, so that I can indicate just extra highlights or whatever. You don't have to color everything in. It's always a thing beginners have where they want to just make sure everything is colored in, but you have to leave previous washes behind and previous colors as well. This side of that building here as well. I'm just going to bring this wash down. Notice how soft Everything is. I'm not putting in much, much darkness in here at all. Go through these figures and this is where I like to just cut around the shirts and things like that. Often said that afterwards we can put a splash of color in there so that it doesn't look all the same. One thing, of course, there are some small figures. He ages people here. So I'm going to just put in a few little circles like that to indicate some people in there. I've forgotten to draw them in before, but just a reminder. Basically that there's some figures are some people in there like that. Leaf, that little van or a bus there as well. I'll go around. Let's just have a bit of fun with all this color in the ground as well. I'm going to pick up again a little bit of this bit of this yellowy color that I've mixed up. And I'm just going to drag all this down to the ground section here. What I want to do is also create, I'm perhaps a bit of a shadow in the foreground because it is a little bit dark in here, a little bit light. There's definitely a lot, but it's a little bit darker in the foreground. So I'm picking up the color called neutral tint or basically just a gray. So if you've got a gray on your palette, just pick up some of that leftover paint and drop that in like this and you're gonna be able to get a bit of darkness running through. And I just want to add some of that in here. Just a little bit of that color in here to miss it around a bit. So it's not all too light in this section. But keeping in mind, I'm gonna be going over that a second time as well. A bit of blue here, this is just a Buddhist cerulean blue, tiny bit of that. Let me drop that into the car and just let that blend in nicely like that. Remember this stage is all about getting in basic colors. We're not trying to detail anything. Coming across here. We've got some opportunities to put in some juicy colors. This is a bit of red I've found just over here. In fact, this is the doorway Africa to get that doorway bit of burnt sienna in there. Perhaps. Sometimes you can get in a little bit of that second Washington, while the paint is still wet or just getting a little devils are suppose of color running through that BEC section. Because this building is actually going to be a lot darker. A little bit of that wet and wet color in here is probably going to help for later. That's just using some burnt sienna, a bit of raw amber in there. Just mix it in with a bit of that gray that you drop some of that in like that. Let's go ahead into the background. I'm using this larger logic brush. Again, I'm a big fan of this larger brush because you can just get so much, so much in, but still create a sense of light and dark. And be able to cut around shapes. I think that's so important. Just being able to cut around. Make sure that you've got in some sharp edges. It's in pieces. The background is interesting. It's kind of a greenish, almost like greenish brown color. So that's what I'm going to use. I'm going to be using a bit of undersea green and then a little bit of brown. And remember this is actually partially quite some, some parts are really light in some parts of really dark around here, for instance. It's always good to have a second smaller brush to play around with these, some of these sections. But for example, around here, you've got really light sort of sections and then you've got dark sections. But what I want to do to start off with is perhaps going lighter. The reason I do this is so I can drop in some darker colors, wet into wet afterwards. We're not just stuck with big sort of knowing wash running through the whole thing. Because we want to have some, some combination, some nice little combinations of color in here. That's not all the same. So this is just a bit of brown mixing, basically some brown with undersea green color around. You notice even some parts of it. It's just it's not perfect and it doesn't look. Exactly the really, really light tone, but we will see once it dries actually it's, it tends to dry a lot lighter and a bit of inconsistency. As good as you can see, what I'm doing here is just leaving a bit of what? Bit of bit of speckle and stuff in there for the imagination. Go ahead and put in a bit of, a bit more color up the top here. Like that, I might grab a bit of this yellow ocher as well. We're missing a bit of that yellow ocher through this section. Okay. I want to do this all in one washer and I really want to go back into this background area if I don't need to cutting around as much as I can, go in and drop in the dark colors in a moment. But let's just drop that in. Bit of yellow, bit of green, undersea green, which is a kind of a granulating, granulating kind of green. And I'm going to pick up a bit of burnt sienna, a bit of raw umber as well, drop that in like this. You can see there's all these little, little bits and pieces here in the background like buildings and things off in the distance like that. So it's important to cut around these little tops of the buildings like that, leave them white. Here. I'm gonna go ahead up the top and I'm going to drop in a bit of cerulean blues are speaking up. Nice, generous bit of cerulean blue can be very tricky at times. When you mix it with some colors, it tends to go very dull. So I just want to make sure that the sky washes in. That it's just a bit, a little bit lighter then the mountains as well. So I will go back into the mountains and getting some details. But I just want to make sure that I've got the sky in there before. I make any other adjustments that are running through in the background, you can see lift off a bit of that paint. Some of it does run when you painting wet into wet. It just just what happens. It will run paint will definitely run. Some more adjustments. I'm going to go pick up a bit more paint, a bit of green, a bit of brown, mix that together. A bit of a neutral tint. Here is where I'm going to just drop in. Of course, some bits and pieces running through the background. And you can just see it. You almost can see it here in this scene. Just be to the mountains which are darker. You just want to dab in places like here, for example, this large amounts in here, the back. You can see that it's just got these kind of shadow across the left side of it like that. And it actually cuts around these buildings slightly like this. There. What else have we gotten here? We've got some in here as well. They sort of just darker bits and pieces in these mountains here in the background. It's very tricky because you can't go overboard. But the trick is just to dab in areas that you feel could create a bit more contrast for the rest of rest of the scene. Drawer, just try out some of this darkness in there. I don't want to overdo it as well. Just bits and pieces, small little bits and pieces like that. Good, good. Notice this is starting to come into the building now, so I'm going to just lift off a bit of paint here. It's tricky. Does this does happen at times. But we'll be able to recover some of it later. As long as the wash is nice and cohesive. That's the most important thing I'm not concerned with. Anything else. Really. Sacrifice a bit of detail over that. Now let's put in a bit of color for the figures. While I'm here. I'm going to maybe leave some of them, some of them a different color, but I can put it in a bit of blue there for that one. We can get inhibitive, maybe yellow for that guy here. Sometimes if it's too, too vibrant, I like to just dial that color down a bit. Just so that it looks better. Good. Fantastic. And not just leave the other ones for now. A little bit of blue for that person. They're a bit of lilac color. And you've got to start thinking about the shadows now further down. So did mention we wanted some softest sort of shadows, perhaps running across the ground or maybe one running across here, just across the back and then where the buildings are. Just going to make that a little bit lighter as well here so that we can get in an indication of some of these lights on the left side of the buildings. It almost looks like it's later in the day in my version. 17. Cusco, Peru: Shadows: It looks like we're all dry it off now. And really the trick now is just to get in the shadows and put it in a little bit more detail for the figures. Once that's done, we should be finished. But the shadows are probably the one of the most important things that I tried to get in with this section. So let's have a look now. I'm going to have to emphasize the light a bit more. In this one, I'm going to put in some neutral tint here, maybe with a bit of purple. I don't want it to be too vibrant, but a little purple in there could just cool down. Neutral tint a bit. First I'm going to just start with this wall. Let's just test that out. I don't think that's dark enough. So I'm kind of putting a bit of color here, just a bit of this neutral tint like that running across there. Then we'll cut around these figures as well. Like this. Remember, this is kind of like a rock wall. So there's not, there's actually textures and things in here, but there's not a whole lot to put in here besides a bit of texture which we can do afterwards. But simplicity of this, we just want to get in, we just want to get in a quick shadow over the top of that war. And of course, we've got some of these windows and stuff behind you can see for these buildings. So it's a good idea to start, perhaps getting in a bit of that. At the moment. I tend to refine it as I go. Continue on. But this is good to just putting a bit of these little windows and stuff like that here. This building is actually also slightly darker. I'm going to just drop in a bit more color in here and let that mixing with the windows and stuff that I did earlier, bring that down just needs to be a little darker. I've, I've realized because it's in the foreground, even though the building itself is not that dark at all. In the photograph, I just want to redo it, make it a bit more, little bit more darker here. Fantastic. Mix up a bit of purple and brown. Brown and blue also makes a really good kind of a grayish dark color. Fantastic. I'm going to simplify this one down. And again, let's put in a bit of color to the left side of this building here. A bit more detailed like these and more control using the end of the brush. Then we might have a bit of this light that's just cutting across here. The side of that building. We can already see the top of that building is probably dark, lighter. I'm going to go over the background and there's like a, another couple of bits and pieces here that say another part of a house or something behind that, I can just drop in like that. It can also be the case where we can put in some little details like this, like basically a little windows and stuff like that. They're good. I'm testing it out again just to make sure this area is dark enough. I really want to preserve the light also on this side of the buildings. Sometimes that means darkening off areas in the background or surrounding a little more. So it's just darken that often I'm going to soften this bit at the back as well, and I don't want it to be as dark as these buildings, but just a little bit of color in there would be nice. Here we have this side of the building which I'm going to create just a little bit of darkness on that right-hand side. Like that. It is, the whole building is actually fairly dark compared to Thomas, as dark as this wall. We can actually go ahead and go over the top with a bit of paint like what I'm doing here. But again, like what I was saying, I'd like to leave a bit of that light on. It's why I kind of had some of the whites of the paper showing there they really creates a sharper highlight something, something different in their extra contrast. Done it also for this little bus or whatever here down the bottom right. You might also want to do this thing where I see I'm just cutting over and leaving some bits of the previous wash there too. So that in itself. Also creates details. In this section. I'm just mixing up more brown and more blue together to create a, just a darker wash in this section, needs to be soft and down as well. Here. We move into the background. Soften that edge off like that. They're good. To have a look at this building. Now, we can start putting in some small details I like to. This is what I like to just grab the end of the brush, just make that, make it until a little point like what I'm doing here. And we can just start dropping in indications of stuff. For example, this top of the building here. You can see I'm just dropping in a bit of color. Cool it down more. They're pretty, pretty dark given in here. There's a couple of, couple of event dark spots there as well. Start putting in some of these spires and bits and pieces on the buildings. That there, there, there's this part of the building here. It's actually lighter. On the right-hand side, there's a bit of white kind of cutting across almost forming a shadow. A bit of, a bit of a shadow underneath the dome there, which I find quite interesting. Let's indicate a bit of that. And of course, some of the top parts of it, there's a dark and part of the dome here to the left and just darken that off. Some more darkness, blue and brown, blue and rapidly more blue. I'm using my too much brown, its powering everything. That's too dark, but I'll have to just stick with it. Of course, the windows just dropping a bit of the windows like that. You can always have a second goal at the windows as well. So don't feel like if you haven't got it right the first time round that you That's it because you can still go back into it. This is what I do. I just drop in little bits of architectural details like that. In fact, this is part of it here. There's, well, there's gonna be a little bit more contrast between this building in the background. Just looking at other ways that I can draw more contrast in more darkness in some areas. Here, here. These are not the right height. Now, let me see if I can elongate this one. Maybe not. That's okay. More color. This is pretty quiet, funny. And I think we'll just have to accept that for the time being. It blue bit of brown, bit of blue and a bit of brown again, to get in some extra contrast here. Now this is going to be tricky. We just want to, Well, firstly, I want to get in a bit of darkness on the left side of this building. So I'm going to just drop in this color again, it's just a bit of brown and a bit of blue. To create a bit of this color on the side of that building. And being very careful to preserve the lights as well as you can see a little bit of light there. Yeah. Ryan, inside of the building. Very important. Just got to preserve that. The rest of it we can just dark and off to that lift left-hand side there. You can see underneath here as well. It's kind of like a bit of darkness. This area of the roof, but kind of skips. You do have bits of it which are touching the light and it's a bit which are not. Just being careful here to try to leave an impression of perhaps a bit of white running through that rooftop. Now interestingly, there is an Alpha the top of the building around there. I think it's kind of tricky to see now. That runs all the way down to here side of the building. And again, trying to preserve trying to preserve and Louis belittle this little strip of light top of this building in front there like that. Often when you put paint on the page, it looks really bit out of place because it's. It's got this spark or this kind of sparkle to it. You tend to think you've, you've you've put it on wrong or something like that. But actually, once it dries, it will look completely fine. You've just got to you've just got to stick with it. This is connecting it on, again, this sort of top part of that roof. Here. There's a bit of dark, a bit in there, but I just want to drop in this indication of the shadow or what have you underneath that top part of the building. You do have an indication here as well. Let's just drop in a bit like that. Not too much, but just a bit there. Get that to blend in a bit with the top part of the roof, something like that. Fantastic. Now across the ground I did say I was gonna put in maybe a bit more shadow across the ground. So I'm going to try and join up some of this now, this is hopefully still going to be a bit wet. It is still slightly damp. And what I can do is just create a passage of light running across the ground. I mean, it's not too obvious, but it does look like passage of light just running across like that. Something I thought would be a bit different and would create a little more interesting this into this section. Again, just want to start cutting around figures and what have you as well in here so that the speed of light shows through better if you can just see it at all. It's almost, it's very difficult to detect, but just a little bit running through the center like this. You can see the base of this building which comes out like this. There's also some shadow running across here. Shutter there, perhaps a bit in there as well. Can use these to cut around the car. Just a bit of color there, to cut around that car. The figures again just to get a darkening those figures once more. I don't really go into the body's just, I just go around them like that. Soften this up a bit and move down to the foreground. I'm going to bring this wash down the page. Okay? But you'll see here in the back that this passage of light, hopefully my plan has gone. Gone. Okay. It looks like a passage of light there side of this car as well. You might find perhaps there's a bit of lighter section on the right-hand side. So I can just, of course, intro to indicate that a bit and then dark and off the windshield here to the left. Get it all in at once. Good. Good. I will just drag this across and see how it has worked out. Has it worked or has it not just the question. Find out. But firstly, again, dragging all these colored down the page. One thing I, one thing I will do is perhaps dark and a bit more near the foreground. And then is in the reference photo. Just add, certainly just add a bit more color near the foreground. It tends to help with the perspective. Let me just put in a little bit of blue as well to just further dark and this mixed down, I feel like it's very warm colors in here, but just not enough cool colors to help contrast. And there we go. That's all kind of mixed nicely together. And we've got an indication of something going on here in the foreground. This beautiful light that's going across the page here at the back. I think that looks quite, quite interesting. And it's kind of caught side of the building here. And at this point, really we're just looking at anything else that we potentially could add in any other mid tones. I don't see really anything else in here that I desperately feel like I need to alter or to change around perhaps the car you can put in a bit more color here at the base for the car, that kind of thing. But apart from that, not all that much. So let's put in the final touches, the final finishing touches of all of these. Call it a day so. I'm gonna be using probably a smaller brush, number six round brush. With this number six round brush, what that allows me to do is get in more detail in things like windows and stuff like that. I don't have to I don't have to concentrate too much. How I hold the brush because it's a smaller brush. I'm just getting a really dark color, mixing up again, a bit of brown with a bit of blue. Let's have a look. What can we do to indicate some of the stuff that's going on? I've also got a nice little rigger brush. This is so handy at times. Because we might have some sections like for example here we want to drop in a bit of paint getting little bits of line work. Blue, just mix this up a bit of blue and a bit of brown here on the side to create just a dark color. Really just a dark color and not fast what color it is just as long as it's dark enough. I'll have to draw off that brush. And let's, I'm gonna start off around about here and let's hold the brush near the end. And I'll jaded have little, little, little bit of, little bit of that. Let me undo that. And we've got this window here. Some windows. I'm going to just putting a few and make them larger actually than they than they look because I'm hoping that I'm hoping that it appears like it's a bit closer. That's what I'm trying to imply here. I like to use dry brush so that it doesn't look too out of place. All the little bits and pieces that are adding here so that it doesn't detract from the looseness of everything else in here. Here you've got little rocks and stuff like that. I mean, you don't even really need to do much, but I tend to, if I want to just imply some texture name, pick up a bit of paint and just ruffle that across in areas like this. And you can create a little texture, a little bit of texture like that. Let's have a look. We've got more the the buildings, a bit of darkness, a bit of darkness here. Anything that you feel would have benefit in portraying the same. Here, I can just put in some of these windows just coming down like that. You can just put in how much detail you feel is necessary or that you want to imply. I tend to leave out of fear, bit of detail actually. Leave it to the imaginations. Saves me last time as well. One juice. It's up to you. A little bit of those windows coming up like that and you can just perhaps indicate some of this, the rooftop like that. Now, you've got little bits here indicate the actual building itself. I'd like to just drop in some more paint in here. You see the rooftop, you can see a tiny bit darker in there. So I can become a bit of blue, bit of brown. Mix them together. Just drop them in like this. Here to get in some windows and some little bits of p bits and pieces like that. Dry off that brush as well. That really helps so that you can get in some broken edges. Some of it I'm really just indicating I'm not even sure exactly what I'm putting in here. But the main thing is that we look at some of the real ducts sections of this rooftop which you can see, yep. Just add in a bit more paint. Just those final dark bits. Makes such a difference in your painting once you've done, make everything else stick out and appear brighter, more vibrant. I'm never shy to put in these dark bits. But I do try to make sure that I dry off that brush enough before I go in there because it can be certainly a bit overpowering if you're not careful detail and it will be the details side of the building. The background is also quite interesting because we have some softer sort of shapes here. You can see they kind of like trees and things that are often the horizon. The horizon, but all the way in the distant background and what have you just little bits and pieces. And I also, you can take this opportunity to even go through it one more time and drop in another quick wash over the top of it. But keeping in mind that you do want to preserve that previous wash as well. So if you want to do this, I'll show you, I'm just giving you an example. So putting in a bit of color like this here. And then it'll just end up like around here. Leave that sort of as a sharp, sharp sort of edge. One, bring out the buildings more in the center. And two, it will create a bit of texture here for the background, for the mountains and stuff like that. Tiny bit of that running through. Just dry brush. Just a bit of dry brush. You pick up a bit of paint, draw that brush on a towel, and then continue on. You can see that I'm just feathering around a little bit because even a VPN, hopefully when this dries it will be all good. Sometimes it does help to darken those buildings in the front. Touch more. Good. Fantastic. I'll give this a quick dry and then will put in the figures. For the figures I'm going to be using. I'm using combination of some darker paint and also some lighter paint because I think I quite like some of the lighter sort of figures in here, but what we need to do is kind of ground them up a bit more. So start perhaps with this one here on the right. And if I mix up a bit of brown and a little bit of blue again, just to get in a grayish color. I can perhaps getting the legs for this a figure here. The ones that are closer as well, they just demand a little bit more work because you're gonna be able to see them a lot better than the ones, the ones in the background. So I tend to just add in a bit more detail and indicate indicate a little bit more of what's going on. Get that leg coming up behind. You can almost see these two are I'm trying to make it look like they're walking towards this scene. Could be wearing a jacket on top like that. Hand and arm coming out holding onto something here. You can see the legs. They're just a quick indication of those legs there and then across the ground. Why not putting a bit of a shadow That's just following across the ground like this. Oops. There we go. Edge of that shadow there. And of course, we don't want to make it too obvious. But this wall may have a little shadow as well, just underneath like that. If I can connect that onto the figures, a tad, that will just look better. It will look more interesting. Leave that where it is hearing and sort of soften off this bitter touch like that. Let's have a look. This is a couple of people here. Someone here like that and legs and then someone here. Remember what we put on here, but there was another person perhaps walking in that direction to leave a bit of white for the shirt. And that one there has some color on the right as well, kind of like a warmish, warm color. Here is like the bustle or wherever they are in the background. I don't know what's going on with it now, but it was meant to be a bus. And let's put on some legs that have brown and a bit of blue. For this this person here. Maybe just walking towards the scene. Another person here that we might have some people, for example, here in the background, lake coming out towards the back of there and just Indicating some more of what's happening. The car, of course. So just want to get in some of those wheels like that, the bit of darkness underneath there, the car here, a little bit of dark in the wind screen as well, so that it looks darker than the background. Softer shadow underneath the car, you can see just a soft shadow running towards the left. These shutters are not very obvious at all. You don't want to overdo it with these. Just create some sort of Dewey sort of looking shutters. Dry, brush them across and you should be okay. You even find that there are some people, figures and stuff walking in the distance like that. But you can indicate AD as well. Just a couple of people I thought I'd indicate there. Another tip is to try not to make them too dark. I've made these little dark, so I'm trying to lift off paint. Just indicate rather than state that this a lot going on in there. You'll see these couple of people or what have you just walking around or legs there in the background? Not a whole lot to not a whole lot, but maybe walking like that. He someone with a lake here and then a link towards the back leg that maybe someone walking towards and create those shadows running across. You can see shadows just running across to the left-hand side. Some more legs than that figure there to the left. Fantastic. Another thing I'd like to do is just emphasize some of these prospective lines a bit more. So we do remember there was a in the center here that we've drawn the vanishing point around about there. So I'm gonna just getting some really light marks, perspective lines running through the scene. And I don't know somehow this always brings it together and makes it look so much, so much better. You have to make sure you get them straight. Stuff that went up a little bit, but really important, make sure they're all running towards that same point here. Otherwise it's not going to make sense. So that's roughly, that's looking roughly. Alright. Not really a whole lot more in terms of the darks that I want to put in. The last part really is just looking to see if I can get in some additional highlights and with some gouache. But there's a few things. For example, if you might see like a fence is a little fence here, for example, you can go in with a little brush like this and draw things on quickly. So this is some kind of poll, I think here it's going behind and this wall, that light pole or something like that. Here you might have some more detailing that you might want to put on this just to finish finish it off, a little bit more detailing. You can keep on going until the cows come home, really. But at some point, you have to say that I'm happy with how it looks. Just to think a few more little verticals and indications of what's going on in these buildings, I think needed just a bit of brown and blue mixed together. Nothing more. Notice these before, but there are some little lamps here as well. Little lands just running down the street. And that one's gone a bit wonky. I'll just leave them as sort of poles like that. Perhaps putting a bit of color with the gouache. Later on. Dropping a little bit of red for some of the faces of these figures as well. I've just got some in there that might help, just a light wash of red. I always find this helps to bring out some of the figure's face and stuff that's going on in here. Keep it pretty light. I want to see better the hand as well running towards the sides and stuff. You can just put in a bit of that touch of paint just to fix up this person's legs. They just looked a bit too wide apart there and skinnier. Good, good, good. Now, what I'd like to do is just squeeze out a bit of quash on the palate, little bit of white quash. And it's an opaque, basically an opaque watercolor. And it's fantastic. We can use this other brush here, the same number six round brush and pick it up straight with the gouache and dropping some highlights. Here might put in a bit and we've, we've missed out a bit of this figure here. So let's put in a bid for the shoulder like that. The shoulders of these figures draw that off a bit and it's too much. Just a little bit of color like this. We can bring back maybe perhaps a head or head and some shoulders of a figure here coming through and slowly just flesh out details. Little details in here. Tell a better story. Otherwise, I've been thinking it just looks a bit too little bit too abstract. Here for this one. Here, here. Little bit of math figure. There might be Tony bit too much actually, but let's have a look in the background as well. You will find sometimes you can drop in a bit of paint to get in bits of this going on here, just like these little houses and stuff back here. Off in the distance. I find that useful. Just to bring back a little bit of the lights in here that we might have missed out before. Destic. I'm going to get into a little bit more color for the figures. Like what I've thought that some of them look a bit too much light in there. So I will just dab down a bit of that. You can put in some of this color, this bit of brown or whatever to put in some of the hair of the figure as well. Like this. You know, that just indicates give them a little bit more. Make them look more like people. Make them all the same but fantastic. Maybe some birds, let me just have a think. If some small birds, perhaps going around like this in the sky. Just a little, little v shapes in the sky, they tend to be useful to indicate a bit of activity going on in sometimes if you've made a mistake by putting in a bit of splashing rid of paint in there accidentally. You can actually lift up, lift up that paint, go over the top of it. Like this to indicate them looking like birds. Domestic and we're finished. 18. La Boca, Argentina: Light: We're going to start off with the scene and actually a lot more simpler than you might think. And we've only got one building right in the center. Good a few figures that we can sort of play around with and the strong light source coming from the rod. I always like painting with strong light sources. It just creates a lot more dynamic painting with different tones in their social world, easier for beginners. So let's go ahead and get in a line roughly where that building finishes. And I'd say it's the buildings about a quarter of the way through the page, maybe a slightly higher than a quarter of the way. So half of the page is about here. So let's say about here. I'm just going to go ahead and join a general line around where that building is. There. You can also see there's an umbrella here. We can even get in that umbrella of part of that umbrella to start off with something like this. Here. You can see it coming down this side of the umbrella here. Like that quite close. There's even a little sign here as well that's held up the side there for maybe the restaurant or what have you. There's some chairs or tables, that kind of thing here underneath that umbrella. Who knows what exactly they are, but I'm not going to try to get everything in with a 100% accuracy. I'm going to go in and let's stop putting in this building right in the center. It's really, it's really right in the middle of the scene. Sometimes what you might want to do it, if it looks too obvious, you can shift it over and move to the left side slightly. I'm going to just start putting in roughly where we think it finishes. It's really almost, quite almost right at the edge of the page on the top. And I don't like normally going up that high, but let's just give it a shot. It's good to leave a bit more space at the top. That's probably the closest you want to go. Otherwise, it starts building starts to look a bit funny as we get to the top of the scene. And they appear kind of cutoff in a bit awkward. So let's get into a bit more sharpness around the edges here of the top of sloppy there. But let's go ahead. That good. We're going to bring this whole building down, just all way down here. Let's go further down like this. Fantastic. And of course we can start getting in a bit of the right-hand side, this bit of the building that's in the light, It's difficult to see exactly where it starts and finishes. So I had to guess roundabout here. Let me go to a section of that building that runs up and the front bit that's around here. Okay. You can always extend out parts of the building as well. You can see really in the background is this other buildings in here just running down the edges on the sides like that. So I can just get in a bit of that one on, for example, we can get intubated this one here. Sometimes it does help because it just creates, again, reinforces that sense of light because we can start shading the left side of these buildings in a little darker shop front or something here. A lot of these are actually covered by these figures. And of course, we've got a large, couple of larger figures here in the foreground. I'm gonna think together. So we've got one person here and shoulders. I'm just getting a bit of the torso here. Shirt which comes out, rolled-up sleeves, another here. And due to the forearm like that, they're there. And let's just simplify this down like that couple of arms by the side. That should college shirt. And we have a leg coming out in front. And then the other lake in neatly behind like that. Okay. And then we've got a friend here overlapping a little like that, coming down into his pocket. The top, they're just trying to get into some more of this sleeve just detailed had a bit more and dark and slightly as well. Sometimes you can even get in some indication of hair while your edit here coming up in front. And the other one just tucked behind. It's a bit leg is a bit funny. It's just redo that one. That's better. Remember this might change as well afterwards when we start getting into the details and what have you. But you can also see here, there's some people near the building lining up. Maybe for the restaurant or something like that. There's someone may be just standing here. A couple of people perhaps just talking. This sort of section here. These two might be talking. And there's a person here with a cap and just walking along. That kind of outstretched. Like this leg here and the other leg behind like that. Just scribbling and look at the legs, just a triangle and a square shape for the body. Looking at ways to simplify down these shapes. Head of the figure like this. I can just to kind of oval shape. And then we'll get the sort of a box here sort of body for this guy. Arms down the side like these and the legs just like this. 11 behind the other. Like this. This would obviously change it a little bit as we go to, so we just want to get in enough detail for these figures and have some in the background too. Here's a few more. Let's go ahead and just drop in a little bit of detail for these figures. Just standing out in the distance. There's also some umbrellas which are like two drawer and just these triangular, triangular shapes here, maybe overlapping with each other in the background there, which is important. There. We've got some of the chairs and stuff like this here and tables. Here's a person just walking through there, walking into the distance like that. Fantastic. They're trying to get into some Barilla a bit more, more detailed. There's actually some tree branches and things just coming in from the sides. So this is really just to remind me to put them in here. There are some interesting trees there as well. Let's get into the side of this building to start with first and unites coming down like this. And I'm just going to draw that basically building. There we go. There's a bit of that side of the building. You know, you've got a balcony even here there's a guy will touch, not just looks like a upward or something like that on top. Little name you can just do. We can turn into a person maybe standing up there. Underneath here we got bit of darkness for the doorway. That this even a little little what you call it lamp here as well. Then these are like balcony area is running down the sides of the building. As you can see, this interesting, interesting structures. Just try to imitate some of those like this. Running down the sides of them. Probably going to be dark or underneath as well. That copy this one over like that. Windows or the United the opening shutters or what have you here as well. Then you have another one here. Another one here. Look down at the bottom. There's like some kind of shade type thing like this door and then go to another opening like that. Few openings, they're fantastic. It's getting a bit of this building here, on this side. There. It's hard to see exactly what's going on off the back for the buildings. So we just got to kind of guess at some point and figure it out as we go. But these ones just dissipate off into the distance d you can't really see him anymore as trees and now kinds of things going on, especially here you notice there's some trees here as well. I'm also just going to indicate a bit of those tree branches and actually way too later to get in some of this detail. Some kind of doing here. Also in the background. I don't know if I'm going to get it up that will just lower it down to about here. Good. Then maybe some windows and stuff off in the background. Start drawing some of these lines, these perspective lines that are running off into the distance like this. I think this will create a bit more dimensionality to what we're looking at. This the base of these buildings around here. Sometimes you get some other lines may be running across like that too. Fantastic. Let's go ahead and start painting. Let's have a look. What can we do First? We can probably do the sky and the buildings. I want to do just some color for the buildings. First because I know I'm gonna be picking a color that's more warmer and what have you. So a little bit of yellowish paint here. This is just some yellow ocher that I had leftover on the palette. Let's go ahead and find some of the DACA. Just little bits of lots of paint that we need to put in here. So this here is a bit of and cerulean are literally the teal color as well that I can just drop in like that. Let's have a little bit just bringing this down the right side of this building is really just so light. And I just wanted to get in a very light indication of yellow ocher on that right side of the building. Like that. To preserve the the feeling of light on there. It's kind of tricky. I've gotten too much blue in there, but there we go. This little bit more of that warmth carry this along the back as well for these other buildings here. Notice how almost like cutting around the figure's a little bit too, so I can just get in some other colors with the figures there. This might have a bit of blue in there. Just quick spread of movements with your brush. We want to do is put a light wash over the top of all this. No. No. Really dark parts in here. At the top. Some yellow yellow ocher. Just drop that in and we went leave that kind of bluish on top as well here, so I can just drop in some more blue. This part of the building is darker on the left-hand side, but before we get into some of that darkness, in fact, it is actually dark even on the right-hand side. Again, just focusing on this wash, this sort of lots of Walsh going through the entire building and getting some colors. First. As we move down again, look, there's more of this kind of warmth going and I'm gonna pick up some orangey color. This is quinacridone, burnt orange, which has a kind of interesting how should I put it granulation effect that occurs when I use it? It's very difficult to find a granulating orange. I've never seen one before, but I think this is great because we've got some granulating paint at the top here as well. So creating some interesting textures. And sometimes I like to do this as well. Flick a bit of, flick, a bit of painting there to kind of just gives the building a bit of character. You can even do it like that. Because remember, we're going to go all over this entire sheet of paper with with lighter paint essentially say, this is gonna be interesting. There we go. Let's have a look on this side. Drag this down. Some of these umbrellas and what have you, they would do look better with some warm colors running through them. May lose some of them. There. We go. The buildings in the back. I'm just going to again pick up a bit of a cooler color and try to paint these in with some of the cooler color here in the distance. Drop that down like that. You also, you also look at the, some little bits of green for the trees and stuff. So in dropping a bit for the trees, the trees and the umbrellas here at the front, they kind of like a yellow ocher plus Naples yellow color. I can just drop in a bit of that colorful the umbrella. That bit more. Put more some of these whites in there so that it just doesn't know, subdued that background a bit more. It's not all just darkness in some areas. And look how it just blends together nicely like that as well. That's what we're looking for. We want things to join up nicely and create some interesting effects, some interesting shapes. That figure here in the foreground. Again, I'm going to probably do that figure a bit later. Just a little signs got some bits of blue in it and you can just make it out on the edges like this. Something like that. One of the things that you really can see here's the shadows running across the ground. What I'm going to do is again, just bring down this kind of subdued yellowy color. Most of it is just yellow ocher plus the bid. Plus a tiny bit of buff titanium color. Just drop it in. There will be some goods that perhaps don't completely mixed together and some bits that will join up. But the main thing is just get some of that warmth in onto the ground. I might use a larger round brush for this. Take less time to do it. Just something in here. And this is enough to also cut around the figures to tempted to use this bigger brush as well. It's larger. This is just a really large mop brush. Put in some more of this yellow ocher, beautiful, subdued yellow all the way down the bottom. I do like to also drop in a bit of maybe too gray with awesome little bit of darkness running down through the bottom. Helps age with that perspective. Especially in the corners, a bit of darkness in the corners like that. So at the bottom of the paper, but don't overdo it. Let's go into the sky now. I'm gonna be using, ooh, it's going to be tricky on may just use, Let's see if we can use like a grayish color. Gray, perhaps a tiny bit of cerulean mixed in there. Very light, light gray color isn't gonna be the lats as color. Eliakim drop that in, Trump that into the sky like that. Kind of looks like it's going to rain or something like that. We'll put a bit of warmth perhaps here to indicate maybe like a sunset or yeah, just a lot sort of that right-hand side. A bit more like that. More blue up here. Some more gray like that. Just covering the sky with a bit of a bit of color so that it gets rid of all that doc and just let me get through to some of that white in there. There we go. This first wash is not about details. This first wash is about getting in a quick wash it quick indication of color, light colors, keeping that, preserving that light source as well. So important on that right-hand side. There's a bit of that orangey color. And you can even stop putting in a bit over here. Wouldn't overdo it though. I'd say just a little bit there. Just to kind of match with that side. Little bit on the right-hand side. Very watery mix of color. I'm using mostly water in all these all these sections. Some more blue that's putting a bit of, a tiny bit of ultramarine, ultramarine little bit of cerulean blue in here. So a little bit into the sky could be a bit of the sky showing through. Sometimes you get that. When you're doing this wet into wet, it's so much easier. Some colors from the figures, I'm going to stop putting in a bit of blue for this shirt at this guy here just to whitewash. Something in here is person might be having darker shirt. The right person who is putting a bit of darkness, Let's put in something here. Here. Here. It's more just to mark out where the figures are. Later on we'll address some of the more micro details. But for the time being, that's all we really need. I mean, a little bit of red for the face. The face is as well. If you just dilute it down some red, it turns into a pinkish color. And that works really well for figures. I just dropped some of that even for the faces at all, for some of these figures. But from that, I think that first washes done, so we'll give it a quick. 19. La Boca, Argentina: Shadows: Moving on to the next step and what we want to do is stop putting in some shadows, some indications of shadows. I like to use a mixture of a bit of brown and beautiful blue for the shadows, depending on what sort of mix that you've got. If you put more blue in, turns cooler the shadow, but if you put more brown in, it turns a little bit warmer. One of the things I really want to do as well is try to preserve some of the previous wash. For example, here, they've got all this blue in here, this beautiful blue, and I'm not in any hurry to get rid of it. So I just want to make sure that the rest of this kind of melts in. And we can just get into a little more detail for this top of the building like that. Little bit of a watch. It's just your mid tones. So anything darker than what we've got on the page here, but not the darkest bits in here. So that's part of this blue salt. I'm just going to soften that down a bit and I'll move down and I'm not going to leave that. I'll leave some of that their color it all in. And then we're gonna come down here. It's putting a bit and again, just leave some parts of the yellow there. And like that, it can be a sign or something. They're here. In fact, this is going to be a area of darkness, of very dark area in there. But then that right-hand side of the building, It's basically just going to be little light. Moving across the page. It's getting some of this bit of the shadow here in the back of the building. Like just over here. I also would just like to dark and a beat at times if we need to. There we go. Let's just put in some docs in here, some of the windows. What else do we got? We've got some like underneath sections of these balcony like areas. Can just start adding in some of that. While we have we have some time like that. In this area, just drop in some color mixes a bit. Don't worry about it. Like this. Good, good, good. Top of that top of the building needs to be a little dark. I'm just going to talk this out there, like these. Excellent. There we go. Color their bit of softness here as well. This too much of a hard edge there, so I can just soften that up. You've noticed inside here as well, It's going to be quite dark and I'll have to, I have to do something about this section. Darken it up a bit later with some of the final dark beads. Let's go ahead. Let's work on some of these other ones. And again, there's lots of orange colors in here and I don't want to get rid of all of them. And then we just want to leave some parts of it too and some of these downward. It's also what you find is that you do get some cutting around a fixed here for the umbrellas and stuff. Just cut around some of those umbrellas. Some of the figures as well as you can see, just sort of standing around here, cut around them a bit and create some contrasts. There is an umbrella. There's another umbrella here. If you've lost another one, just put them in, just just put some in there like that. That's not one. But essentially that's what you want to do, is go over into the background. I'm going to just soften this down a little bit like that, but I do want to kind of connect it all into one big shape. Look better that way. Then you can leave some of the blue in there or some of that previous wash. That bit of green here. The trees, tree there, a bit of, another bit of tree here on the other side, green. And this kind of helps also, if you look carefully to cut around the umbrella. Quite amazing. Sort of sharp edge there. Let's have a look. What else do we want to put in here? The right-hand side of the building is going to be interesting. We can actually pick up the paint and just drawing a flat brush because this makes it really easy to just get in some of the windows. Which stick out of the darkness a little bit like that. You can see just a little darkness here, here. Here. Fantastic. And of course here in the background is where we can just dark and a little bit off as well for the buildings in the back. And this will form a slight contrast actually, to make the side of this building stand out more. Let me just cut around a bit for some of these figures. There, the rooftop. I'm going to leave a little darker, lighter. And then for the sides of these other buildings in the background, just going to color them in. Because we can imagine the light source coming from the right-hand side hitting the rooftop. The sides of these buildings. That let's have a look. Let's try to get in this one here. There's some buildings behind here as well. They come in very kind of warm colors as well in some parts. Little bit of warmth here, just cutting around some of the buildings and just mix that in with some darker paint like these. Here. Look at that. Some figures already. I'm just cutting around. When you create these darker shapes around the back, you bring out the figures. Details of the figures. Fantastic. Just a bit of softness back there. I'm going to have a look and see what we have in this section. Don't need to put in some trees, perhaps. Perhaps a little indication of some trees and almost sort of section as well. Just in the background. Good. Drag this down a bit here so that I can just cut around these people, please. Yeah. A couple of people here in the back there as well. What we can start doing is putting in some shadows. I'm thinking I'm going to use a larger round brush and just do this. We can get them in like this. Running a bit actually a little bit more angular to the left. Like this. It'll be more towards the bottom part here. Connect that up with the building. Cut around the umbrella, put a bit of darkness underneath, but also leaves some light to that's a bit of a shadow for that building. Would of course we're going to have other shadows like for figures and people that might be standing in their center points. Little softness like that. They're not only that but these figures closer to the bottom. They can also create significant shadow on the ground. Getting that front leg first like these, there. It more darkness. Maybe go a bit of a shadow there for this one. This one as well like that. In other leg maybe get the other leg coming out on cross the side like that to that it makes sense. I believe the shirts and stuff like that work on that later. Can also drop in some red as well for the skin and stuff like that. So I might just go read. He put his arm somewhere, he didn't hear. And the other online here, just color, movement of color, this person's arm like here as well. A bit of red. This will draw off hopefully to a slightly lighter color. The faces I already put in a bit of pink that before. So there's not really a need for this, but I'm just going to go over one more time. Good. Of course, there's some of these figures here which we can start to drop in as well. Just a bit of darkness for the body's like that. Then you've got the legs. The legs are important where they face. You'll find that they indicate whereabouts they're moving. For example, you can see this one looks like he's standing on the side. That one's walking through one of the legs shorter. This one's maybe standing, moving slowly towards the right. This one's moving a little bit towards the left-hand side. Whoops. I didn't, I didn't turn out so well, but kind of like this. Sometimes once it looks good, you got to leave it. Thinking how I can fix this one up now. I'll make this one maybe walking into the right-hand side, foot, maybe a flu further down like that. This can just be a person walking into the scene that looks a little better than before. Join up the legs like this and create a shadow running towards the left like this. For all of them that sort of in the same direction as those other figures there. So you can see, join them all up. Even some of these ones here that are just walking off in the distance, they are going to have that same shadow pattern moving towards the left. Okay, I'm not connect onto that figure a bit. Is even this figure behind perhaps not that there could be another figure and there could be some shadows just running through for those as well. I also like to get in some of these little perspective lines while the paint is still wet so that things just join up and get better. How I got another one here that's there. What else do we have? Anyone coming down like that? More here, running one here. Sometimes you get some other ones running across in the opposite direction like this as well. So you might want to do the same thing. Like that. Just creates a bit of interests. Interest on the ground, connects things up with each other, starting to come together. I'm going to put in some details for the trees, just a little softer detail for the trees at the base here. And then what happens is that you see it, you see the trees just stop the spread upwards a little bit. Just picking out some of this brown. It's dropping a bit of that brown and getting a bit of darkness up to this level because these trees are very, very dark. You have to you have to remember that they pretty much the dock is almost the darkest sections of this painting. So we really have to go full tone here with everything. Suddenly these ones just go up like that. If I have a smaller brush, it might be easier. Smaller round brush like this. He especially as we move into the distance because the branches and stuff gets smaller. Little bits like that. Let's have a look. This little tree Here's world is sort of going up into the sky and the other one perhaps here. Here. Let's have a look. Let's drop another bit of color in here and just had a bit of these, these little lines and bits and pieces for the branches coming off. Oops, this one is already too big, but when we deal with it, Stretch up into the sky like that. Interesting as well. They do have shadows that are cast across the ground. So if I can just darken some of that little as well imaginary one that's coming in from that right-hand side. That's going to help. Good. Destic. Just now emphasizing some of the dark areas behind some of these figures. Of course, we have some darkness in here as well. Like what I was saying before, these faunal dark, which helped to cut around the figures. Now, I want to spend a bit more time being careful here, especially because we've got these heads of these figures here on the rod. I don't want to go to haphazardly and getting color everything in. So just be careful there. Almost like just drawing. Being careful enough to respect the previous layers. Acknowledge that they are still there, essentially. And then getting the final darks to really, really dark areas. The final beat you can see even separations on the building like that. Even though that right-hand side of booting where it's pretty dark, sorry, pretty lights on the right-hand side as well. Just using this doorway to create a bit more darkness around the two figures here. The front shape, the shoulders a bit. We can do that also for this, there could be a figure here. The darkness just soften that like that. Even here. Let's have a look. Where else can we add in some darkness, certainly around here. We're missing a bit in the little windows and little shutters and things like that, like they're underneath as well. You might get a bit more darkness underneath like that. The top part of the building is darker. You've got this kind of like that. In here. Just again, layering and implying detail in here. That dry brush just to get in that left side of the building. Extra darkness here again, with some of these windows and bits and pieces, but it's a darkness in here. Some windows all the way, softness in the background like that. Underneath these umbrellas as well. Let's have a look. What else can we put in? How about we go with some little lamp. We've got we've got some lamps in here. Let's just put I don't know, just an indication of a lamp structure like this. Lamp here. The dry brush like that. Some more, perhaps running to the left. Good, good, good, good. Fantastic. Having a look back and seeing what else we need to do. It's really just now putting in the final finishing touches. For example. Even underneath this bit of the umbrella, little bit of darkness, their bit of darkness here on the board. That thinking whether I need to go darker for the shadow, I'm going to draw everything off and we'll just have a look. I think things are starting to look pretty good actually. And really the last, last bits and pieces for me, I just indicating extra little details on the figures and highlights. And I think we'll be done bringing out these, some of these really dark areas as well. This is quite beneficial because that allows us to imply a lot of the lighter areas of the painting to just draw them out better. Just some limit indications for the figures and bring them out of all this. Basically all this color out he is. So we forgot to dark and offer some bits, pieces. Pets bring out some clothing and things like that on the figures. Also, what I've not done is some of these little trees here on the other side. So I'm going to just put in a bit, tend to just hold the brush right at the end and putting the branches like that. I think these are kind of important because we've got some trees and things off the side there. So finding a balance between the two is quite important. There we go. And not putting too much energy into it as well. So these are, these are another one of these trees that sort of look like the ones up on the right-hand side and just go directly up and branches go. Yeah, they just grow vertically. Having somebody over on that side as well. Now, I think probably the most important figures are these ones right in the center. But what I'll do is started mixing around some blue into the white gouache that I have. And we can just start putting in little bit of color for these figures. I don't want to bring out them. Bring them out a little. That's another figure here, perhaps just walking towards that right-hand side. Bit of shadow behind that figure there as well. Let's get some red, some pinkish color here, something in the back to the blue again. Back here again. Beautiful, beautiful light. Here, Here. Good to stop putting on some little highlights on the tops of the heads of these figures. What, what I'll also do is if you grab a bit of brown, you can put in some hair. It would have here and just create a bit more of identity for some of these figures. This is starting to go up. You can see the gouache starting to go up, but I'm just making that figure on the right perhaps appear to have some longer hair in the middle here and have lost a bit of the face. Doesn't matter. We'll go back into it in a moment. Bit of hair for this one. Just notice how quickly, a little how quick I got I'm going into it to imply what's happening. These could be or something like that. Certainly, these are the arms of someone here. Just start putting in some arms. Just a couple of little bits like that. Maybe. We have some figures here in the dark. Just a bit of the back here, perhaps another figure there. We might have someone up here as well, just difficult to see, but this little highlights on the windows. The window seals, the edges and the frames as well. Bit of highlights on the heads of the figures just to drop in a bit of that paint like that. Pilot to the right-hand side to get in the sense of light. Let's see what else we can do on this side. Little bit of color, a little bit of white in there as well. We're finished. 20. Loose Trees and Field: It's going to be doing another loose landscape. Now. I'm just going to be firstly putting in the horizon line. And it's quite interesting because this scene, if you look at it, has a lot of shadows running towards the foreground of foregrounds. Massive new math. Three-quarters of the entire scene affected. Yeah, it starts roughly around here. We can put in the horizon line roughly here. We can see the top of the trees. We know that they run upwards as a few, like this. Maybe larger one here. Another one on an angle few in the background, one here, one here. And the thing I love about natural landscapes is that you don't need much accuracy at all. That's all I'm going to really put in for the drawing. And you might put a line here or something for the cough that's coming through this area. There's a bit of detail and things out in the back, but it's not a whole lot. So firstly, I'm gonna whip the page getting entire wet the entire page with some water. Okay. All the way through. Cover it from two we get to the bottom to the bottom. And notice how much water I've got in here. It's basically just drenching the paper because I want it to be completely wet and almost soaked through before I actually go in and do any putting any color. I tend to go over, give it a few, few sort of brushstrokes back and forth like this. You can see letting it all kind of melting nicely. I think that should be all right for now. What I can do, what we're gonna do now is we're gonna be picking up some green. So I've got a little bit of undersea green here and I'm just going to drop that in some areas just up the top here. Also. What's going to be important? So we do need some yellow are some really light colors up there. So I'm just picking up some lemon yellow or if you've got some Hansa yellow as well, I think this is actually Kanzi yellow medium, which is a really bright yellow. We can drop that in this area. This is only going to brighten up the green that's in here. You can also drop in a bit of orange. I love putting in some quinacridone orange as well in here so that it doesn't look all the same, the same color. It's kind of a granulating orange, believe it or not. There we go. It's coming through like that. Might want a bit more yellow in there. Let's just reassess putting a bit of yellow and they're coming down. Let's go ahead and drop in some green. This is just some undersea green. You can use any kind of green that you want. If it's too dark, you can always put in a bit of lots of green to just drop that in like that. It's all the way down to the ground here. You also do have some browns in this mix as well. So getting a nice sort of a mixture of everything. Just like that. You can already see this nice little gradation and it starts to mixing with each other like this. Fantastic. This is the point where we look at perhaps bits of grass and bits of pieces of things that we might be able to add in just some darker bits here, for example, we can pick up some more of this green and just drop it in. In some areas like up here, up here. I know it's not really actually there in the reference photo. But doing this is just going to apply some dark areas in this grass. So it's not all the same. All the way through. Sometimes what I do is just pick up a bit of findings and just flick it in like that as well. Does help to create some texture in this bottom part of the painting. Just going in, picking up colors and dropping it in just a bit of gray. Tap that in on a brush like this. I tried to angle it downwards so that it doesn't mix him at the top of the painting. Okay. So let's have a look around. You can also shift the paper. You can do this sort of thing. He looked at that move that paper around, go to a tissue paper. It's good to just remove some of the excess paint running down the sides of the page. It's dried off a little. Then we can move some of this paint downwards like that, shifted across and see. See what it does. Shifting all the way down. And here we have a nice smooth, smooth sort of wash. I will dry off the top bid a little bit and we'll go in and put the trees in. I'm going to go in to the top section and dropping some colors for the trees. I'm going to use a bit of neutral tint mixed with some raw umber or burnt umber. They both work very well. Let's drop this in now. That's that area has not completely dried yet. Okay, so we can get in a bit of fairness in some areas like this, we can get into a bit like this. Okay, Let's have a look. What else can we do? We might have like a tree trunk coming down like this. Let's have one here. Another one coming down like this, like this, like this. Just pick out a few that you see in the scene. I also liked to have myself a little rigger brush, whereas it little rigger brush to do the ones in the background. So I'll pick up a bit of that paint where that brown mixed with the little bit of the brown. And let's just go in and putting in a couple of trees here. I might actually spray down that error. It's not completely wet enough for my liking. I just want to soft enough that area a bit more. And also encourage these bits to mix a little bit here. Whoops, spray around here so that I can get in some kind of some kind of shadow. Let's have a look so we can have some shapes running downwards like these trees off in the back that's just running through is one thin ones here. Running through. That is, interestingly, there's also some greens and beats of lots of green leaves and things running through huge is really important as well to indicate. So That's why I'm just picking up some more of this green paint. Try to disperse that a bit in here too, just want it too soft and down as well. I don't want it to be too hard. So just a little bit of green paint like this running through those trees here. Fantastic. I prefer the trees to actually be a little softer. If possible. Actually may have to tidy them up a bit later. Let's get in some of the shadows. I'm just going to pick up a bit of blue and mix that in here with some of the brown and have shadow coming down like this, turned into a bigger shadow like that. Let's have a look. What else can we do? We can get this shadow of the tree running towards the right-hand side like that. This 12 like that. Might even try to put in a tree here. Because I think it might be nice to have one right in the center here so that I can get a shadow running a bit across the page like this. Okay, we've got this larger one here that's casting a shadow directly downwards. We've got these ones which may have like shadow is running to the left like this. They're all wet and wet. Shadow is, by the way, were not. Worry too much about getting in a lot of accuracy at this point. I will drop in some more colors and bits and pieces to here in the SOD or to feel we should put in some more trees. Just another stronger indication of what's in here. And I'm going to have to pick up a mix of paint. We got here, we've got another tree, maybe casting a shadow down, which as well through that center a bit like that. What else have we got in? Fantastic. I think that looks pretty good for the time being. I'm going to start feathering in using little fan brush, a bit of green and what have you through the middle parts just to create some connections because at the moment there's not much connections between all these trees and just lots of area, which I think is fine, but at the same time we're not indicating enough of the shrubs and the other tones in the grass areas. I'm just going to drop inhibitor that bit of brown on this fan brush and I'm just mixing that around. That's dropping a bit here. Let's get into that. A bit on the right-hand side, down the bottom as well, down the bottom. Here. While you can paint pretty quickly using this style, you still have to let things mixed around by themselves as well. So be careful of going too quick. But at the same time. There's definitely a time limitation on some of these, some of these little bits and pieces that we're painting in here. I'm just putting in a bit of the tree, just again document down that tree and creating more strengthen their bit of the branches like that here, strengthening some more of these branches here, here, here like that. Like that. I'm going to give this a little dry. Shadows have moved around a little bit, so we have to sometimes redo them when the paper is really wet. Just dropping in some more. I can redo some of the trees like that. Just running down vertically here across the page like that, like that. Test. And if I can just using some little scratching out techniques here to lift off a teeny bit of paint in some of these sections. Some areas where it's just dance. It's kind of hard to because it's mainly the shadows that are slightly damp, but I might be able to lift off a little bit over here as well. Just some scratched off gets for the bits of grass blades of grass whenever you it's not a big deal if you don't get a whole lot of the mean because you can also go back in later with a with a bit of gouache. Sometimes if you scratch that paper, you can scratch the paper all the way back. Like I've done here to review bit of the white of the actual paper to something I'll do so often, right? It is something I've seen done in the past. So another thing you can do as well. I wouldn't recommend doing it too much though, just in case you damage completely damaged the Padlet, but that is another option. You can do something like that, creating contrast. Here we go. So continuing back on down, I'm gonna go and pick up some more of this paint. Basically a little bit of this neutral tint that I have here. And let's put in a bit of color, for example here that's getting the branch or something running up. Just some small details to try to create some sharp edges on these trees. Because really at the moment we've got all these softness there in the background, but not much details of the branches and things like that. And I think they really helped to pull the scene together when we have just a little bit of those branches and things running across in the background. This will kind of melting to the melt into the trees a little bit as well because it's so dark back there. It does look a bit shop at the moment, but when it dries, I am pretty certain it will be completely fine. We can just stop jumping in even a few bits and pieces like that. I like to pick up a bit of green, actually get a darker green with these fan brush and go in and just start putting in a few of these bits and pieces here for the grass. Just feathering in bits as well. And you can kind of drop, drop the mean just like this. You can drop in logic tufts of grass or like shrubs and things there as well. If you'd like and just blend them in together. And what you're going to find is the when they dry off and they're going to look great. It's just a combination of these different marks. You wouldn't believe it, but they do make such a difference. Once everything kind of comes together. Going through, I've kinda drawn those bits of grass at the back of it to large those ones, but near the trees you want to make them smaller like this. Just around the base of the tree trunks. Here. Also, I'm trying to preserve that nice bit of light there in the background to go in here. Who didn't a bit more tufts of grass here. Just feathering it in where we want. I'm always keep changing the angle as well so that I get more variation in brushstrokes. And I might have a logic bushy or something like that. So I can just scratch in a bit more detail with this brush. It's kind of using a scumbling technique where you just scribbling in different directions using a little fan brush like this. I'm going to grab a bit of yellow and white gouache that's mixed together. I'm going to put in little highlights to finish this one off. So small highlights like this. Because we're going to also get some bits and pieces that this It's a grass which will catch the lot too. I think this is a really good technique to finish it off. I kind of almost dry brush some of this on too. So you're not putting in and to shop of niche in some of these areas, but Buddha sharpness is also good. Here we go Just a bit more here. In this section of the back. What else can we do? Maybe a bit here as well. Near the bottom of the trees. Sometimes some bold brushstrokes like this. They can somehow just really make a difference in some areas, but I don't want to do it in all old parts. Almost done just having a go at a few extra areas. There's more water in here, perhaps, bits running through the front like this. And I think I'll leave it as that. 21. Paris: Light: Okay, I'm gonna be painting this interesting urban landscape of a street scene. And what we're gonna do is really just simplify the buildings down a fair bit. The way I like to start off first is always in the end, the bottom of the buildings general horizon line. I'm just going to place it roughly around here. Now you're going to have to estimate a location for the bottom of those buildings at the back. I think I'll place it around here now it doesn't have to be there, but I just wanted to leave a bit more space at the bottom. And so that I can get a few more figures or something like that in here, maybe a car. What I also want to change perhaps is I think the shadow because it just looks a little bit dark and covering too much of that left-hand side. I do like how it balances out in the right-hand side, we get a lot more light, but we think about that a bit later. So I'm going to go ahead and put in the sides of the buildings is sort of a bit at the bottom like that. It's really just a quick indication of a moment because I don't have the buildings even at the back-end. But I will simplify this dance as safe. I've got this building right at the back. It's still fairly I'm short close to the ground. Maybe around like this. There's the base of it. We've got a bit of an indication of that one. I know that we have of course, this little building running around the side there isn't a little, but it's rid of basically a row of buildings. And I want to see roughly whereabouts. It is now the front of the building, which is almost like a long rectangle here. It starts off round about rot and the right-hand side of the middle of the page. So roughly about here. This is where I'm going to start drawing it in. In comparison to that, It's quite high up. It's almost about halfway. Halfway from the bottom of this line here to the top. I'm going to measure that out roughly. Put that in like this. Take a bit of time to draw in the features as well. You don't have to get it all in perfectly. But I think having a unless an exaggerated form at times does help with the rooftops. Like what I'm doing here, making sure you've got those rooftops in more or less accurately. Here's the edge Assad of the building here. Now it just disappears off inside there because it's in shadow. But of course we can just go ahead and decrease that down to size that down. And funny enough, this actually also forms the edge of a building here right next to it. So we can now sort of putting a bit of an indication of this building here on the right. Let's go up a bit further, roughly about here. And we want to leave some space up the top for the sky. But at the same time we can see that the building actually finishes off. And it comes in a little bit, but it finishes off around about here. Cuts through the top like that. This building is separated into two bits. We've got the side of the building roundabout here. In fact, it's quite interesting because you've got a top section, but then it also moves to the side like that. So it's almost like the roof and the side of the building. I'll draw a rough line running down the page like this. With the pencil. Of course, we've got different floors. I mean, we've got one running kind of like this and running across like that. And we've got one that separates out this section as well into another. And we've of course got one closer down to the base, almost separating this split in half. And it also helps to give a bit of dimensionality to the structure of the building as well. In the rest of it is just putting in some smaller variations and some of the blocks. I mean, here you've got maybe a chimney or something like that on top of the roof, bits and pieces. It's not a huge deal. I think. What you've got to remember to do is make sure you also get in. So just a little indications of the windows, some of this stuff we can indicate with some dry brush later, but I do find it helps to have some indication of the windows where they're at roughly. You don't have to draw all of them. Sometimes I'll just draw half of them in like this. Like that. There's ones that sort of hit off outside of the building here on the sides as well, so that you can get in like this. We've got some at the bottom and they become a bit more complicated. Some of them have like shades, they had different sized openings as well. And here there's a shop window or something. It gets a bit more complicated there. Of course, this side there is a Little opening like that. You can see the side of it. And then of course, some of these windows to the left and right. And sometimes I just put them in. It's just a line, just a quick little line like that. Simplify things down. Again, there's some separations in here. Like I said, just indicate some bits and pieces in here, but don't necessarily draw it all in just that little bit of scribbling there to guide you your hand when you're doing the brushwork. Later on. We'll finish this side of the building of here. This building is quite important too, because it's going to have a bit of sunlight or something, I guess cutting across and forming a soft shadow in some areas and perhaps I might do a sharp shadow, we'll see how we go. But again, we've got areas in the building that you can clearly see. The floors. You're going to separate that out like that. That's okay. I'm not really fast as to how many floors exactly and trying to emulate that reference photo. But just an indication is fine. Now we can just connect this up like this to the rooftop like this so that we've got this side of that building. Sometimes I go a lot lighter with the pencil like that. So then if I make a mistake or what have you, I can go over and it's just a lot easier. You can see the top of the roofs as well. There are these little chimneys and things like that too on the side. Here we go. Now I'm just going to go get in a few more of these buildings and you'll notice some of them also. Some of them will also show a little bit of the side of them as well. There. Part of this larger building here. And you can just connect up these lines so that the floors looked like they're going through the sides of those buildings, they're round the back. It's not a huge deal. I was just getting this building right at the back. Really quick indication. I can zoom in and obviously you have like a closer look at what's going on in here. But I'm not going to really bother too much with the exact details. We can get a few more of these stuffing later once we get into all the washes, all the other washes. Okay. Fantastic. So that's most of the buildings done. Let's go ahead and getting the largest block here on the left-hand side. We can, again just simplify this down. And we know that they kind of finish off roughly here because we've got a building rod on the edge of the page. Actually. This is a good section here, just to put in first I find it just makes things a lot easier. We get the bigger one in first. The other one we can start off roughly here and have a look at the easier, a lot closer. Suddenly a lot closer than this one. But it's a similar type of building and you go to top in sort of structure like that. And the back sort of disappears off there. And you've got the front of the building which just comes down. You can see it's like a long rectangular shape. To come down, hits the ground. You can see some of these coming off the side. It all just starts to slowly head towards this section here. Further below, connect up with the building here in the background. Bits and pieces. Maybe some of the floors indicating some of the flaws. Like that is a little doorway at the bottom. Just a little indications there that helps to indicate the perspective. Again, often what I do is imagine a dot here on the horizon line, just a little dot. From this dot, we're going to have these lines emanating from that dot and it's not gonna be perfect. It's not always gonna be perfect. But often if you do this, it starts to look as if the scene is getting larger and then smaller as you hit towards the back. Of course, one of the things we need to do here is add in the cars. Just fled to put in a few here that says a box there just indicating There's a car. I think it looks like it's just turning here. I'll simplify that down with the back of it like that. There is a wheel, Here's another wheel. The car Turning into the scene like that. Simplified down. Of course, you might want to even join the windows a bit better. I'll put a little wheel here at the back. Can sort of connect up a little, you know, there's a couple of cars here. Crews to say we can't change things up. You know, I would like to have overlapping shapes at times and at different. Cause and in here, so this is a good thing to do. You can just overlap and put another car here, perhaps all of them just going in the same direction, going straight into the scene. I might put another one even here that's closer to the the front of the scene. And let's just put this one in like that. Sometimes you'll be able to see the side of the car a little bit depending on the angle. But this one is just more of a backend view of that car. Also, what you can do is you can get in cars, let me be turning. So there's another turning car That's perhaps just going, going into the back, into the liberal alleyway or something like this. The street here. Then, now this might disappear afterwards. So we see, we will see how we go. But I do want to make it look like a busy street. Here's a figure. Something like that. Always mean the heads of the figures and the flat terrain always going to line up all in a row. I have one here. I might have one here. Like to change the poses of them as well. This one might just be walking like this. Maybe one that's leaning forwards and leg here, another leg here like that. In sort of emotion can model if this one, and maybe it's a girl holding a bag or something like that here. Oops. Leg here late coming out the back like that. Someone here at the back just standing it into this section here, what I'm putting in is basically a tiny bit of a Hansa yellow lot mixed with a touch of buff titanium. I want to keep this area fairly light. Have more of a kind of a subdued yellow to it. So that's why I'm just keeping it not too vibrant. And try to have more of this kind of sandstone kind of color running through this initial stage. We're not looking at creating any, I guess, details or small little bits and pieces and year, we're all just trying to get in a light wash of color over these buildings. And also I find that when I'm using such colors like these really light. If I put it in a bit of buff titanium here, it makes it really easy to get in all the light areas even if you use quite a heavy amount of pigment. Because when you are looking at yellows and you're looking at these lighter colors, you find that they actually have naturally, naturally light tone. So you don't need to do all that much in there. Just mix them about, subdue that tone, that hue, that yellowish hue down a little bit, and paint around the little figures in the background. Because it always looks better if you give them a bit of individuality. Go across to that building here. I'm going to add some more buff titanium in here actually to again, just subdue this down a bit more like that. You can get bits of the rooftop and things just sticking up here. So I might indicates some of this while I can because afterwards it might be difficult to get it in. And I'd like some of it to melt into the sky as well. Nice bits of speckles just melting into the sky in some way to indicate bits and pieces on the roof. So here we go, good, a bit of this color now running up the left-hand side, I'm still using a lot of buff titanium in here, but with just a tiny bit of yellow. You can already see even with the heaviness of that paint. It's still very light. Going around, it's around the rooftops there. You will notice as well here, bits of the roof sticking out a touch like for example here or here. Bits here, something like that. The bits and pieces on the rooftop of these buildings there like that. Tawny indications like that they do help for later on around like this and just cut around that figure this on the road. Like that. Coming down like this, just around these cars, I think around here as well. We should. Just a bit darker. Now. I'm going to carry this wash down into the ground. But what I'm gonna do is also just tried to mix in perhaps a bit of tiny bit of gray or a bit of coolness in that section. It just looks a bit more, a bit more like the ROI. Now we don't have to worry too much about that, the exact color because what you're going to find, what you're going to find is actually there's gonna be another wash over the top afterwards. But I'm going to just mix some of these sands, stony, yellowy color into the ground, especially in the right-hand side because this is where maybe just to actually use a grayish color, just a light grayish color here, but with hints of warmth in it so that it mixes the building, the colors in the booting mixed downwards like this. Get it to join nicely so that it has more of a road taught color. But if there's bits of warmth and stuff just mixing into this section, that's also a good thing. I don't want to keep that area a bit lighter there. That's image too dark. But I know that it will dry off significantly lighter. But let's just move some of these server side cut around those cars. This will dry off considerably lighter so there's no need to worry. It just has to be a little bit darker than the buildings, the ground. Some of that yellow clumped comes in bleaching, not a problem for the sky. Now what I want to do is just start adding a bit of blue and I've got some cerulean, cerulean blue. And I'll pick up this little mop brush that I got here, this tiny little mop brush. And I'm going to use this a cut around some parts of the buildings. And this is the fun bit because can be fun and it can also be a little bit frightening. But you have to make sure that you be careful enough so that parts of the building and do stick out and do appear lighter and warmer. But then you want to make sure some of them mix, some parts of it mixes. Well, I might say mix a bit like that. And then as we go up, I'll just leave a bit of a white edge on some of the buildings like that. Bring that across. Then. Do the same thing here and that left-hand side. Not really much mixing it all, just water in here. Water and cerulean blue that I'm just dropping straight on. I tried to do the skies almost as quick as I can to make sure that they mix a little bit into the buildings. Because the last thing I want is this funny, sharp edge on everything in the scene just doesn't combine and look like an entire cohesive painting. Joining bits of the painting up is just so important. Nothing just looks at a place or too stuck on some areas of sharpness, in some areas of softness and connection. So important. You notice even look, some of the blue may go on to the buildings and form a bit of a funny shape and areas and what have you like? Here's some colors that maybe don't look exactly correct or what have you. But the overall product I find is that it tends to look a lot more connected anyway, even if some of it mixes in. So we have to worry, in fact, the roof, rooftop of this building is a little bit cool. Steal the last bits and pieces that we might want to add in. Just some wet-in-wet, little wet and wet bits. But I think I'll actually think I actually leave this one and we'll make all the shadows. Add the shadows in more sort of sharp or on these buildings. But maybe see if I can spray down a bit of the edge so that it softens up in some areas. Will dry it off time to start working on some of the small details, tiny details and bits and pieces in here. I'm going to have a couple of round brushes are good at number four and number six round brush. And I've also got this little little mop brush can decide which one to use this as a 303 slashes here, and this is a ten slash 0. They all tend to come in different sizes. So the main thing is just to look at the size of the building and look at the brush and pick something that's large enough to get enough, good enough washy cover a larger area but still have a hold, a nice point, be able to cut around. So let's have a look. First thing I want to do. The first thing I really wanted to do is maybe getting some. Blues and things in full for some of the windows and we're not all of them, but just a bit of a touch of corners and some of the areas like here, maybe here. And of course this is going to just disappear off later on. But just something in some of these windows I think would be useful. Of course, it doesn't look like much. Not much now and sometimes you just will turn a bit greenish, something like that. But the main thing we want to do is getting this large shadow shape coming across the ground and coming across the buildings. And for that we're going to use, I'm ultramarine blue. I've got a bit of ultramarine and basically any kind of brown. So I have some burnt umber mixed that burnt umber in with the ultramarine blue. And that will create me a nice gray color. We can start having a play with this one. Let's have a look at this one now it hasn't dried completely yet, so that's fine. If it's two grayish and you want to add in a bit of blue or be more coolness in it. You can also do that as well, or just dropping in, changing that mix on the paper. So there's a bit of that coming in and this is just a quick indication of this building here on the left. What we're going to find as well as the edge of these buildings can be sharp up. And then we're going to have a edge, a sharp edge here, cut around. And I'm going to merge these, some of these windows shape basically just the color in there is all that I need. And we're getting a bit more of it later. But we want to preserve this edge here to suggest that there's light coming through, little bit of light coming through this kind of alleyway thing here on the left. All in one, go. Drop it in like that. Let's carry this wash onto that right-hand side as well. I'm just going to carry that down and you see as well that there are certainly like little bits that pop out of the rooftop link here. I'm not going to really emphasize them too much, but again, just this large shadow shape. Most of these buildings still fairly fairly lights even here in the background. So I can just dilute down that grayish color, grayish mix. As we go further back. In, dilute it down a bit more here. And I'm going to cut around that car like this. And there's a little figure there. This building actually connects up a bit more like this. There. I'm undecided or whether I want to put some light running through the center. As we move towards the back. This is again points where we just add more water to dilute that mixed down a bit more. What this does is that it creates this sort of illusion of things getting less detailed, softer in the background. And that's what happens. With prospective. You often get to create depth. You've got to have objects which are used darker colors and a bit more detailed in the front. And as we look back, things just start decrease in details. What I want to do from this. Sometimes you need to go back into it and just drop in some color. Now here's the exciting part because we've only got one chance to do this as well. And I have a spray bottle that can be helpful at times to get a softer shadow in some areas. I think for this though, I may just not worry about that. I think we'll just go in and just getting those shadows and make them kind of sharper. Might be a little sharp shadow there, There's butyl on this building like this, covers across, runs across this edge there. Then of course in the back of this building, we've got some darker bits here to got to be careful about this building on the right-hand side because that's gonna have some lights in this section. I'm just darkening down to get this basic shadow shape in the background. They're just running through that building. Kind of costs from the buildings and things on the left-hand side. Now carry that sort of same shape down here. And of course we're going to have a bit on this building to the darker shutter on. Just a little bit more. Strengthen this and you can see the shadow just comes across and cuts across this building there and forms a bit of an edge like that. All just joins up into one big dark shape like that. And of course, the ground is a little bit requires a bit more color as well, so great, that sort of shadow on the ground. So I'm gonna go in there. And let's put in some color here. Some of these cars and windshields and stuff as well, we can get in with another color. But we can actually just leave it at the moment and see where it goes. But for the ground, we're just going to get in some darker shapes on the ground that it makes sense so that these shadows and serve a purpose on the right-hand side, we know that they're coming from that left-hand side. The question is, obviously, how far do I want some of these shutters to go? For? This one, I might have one like that. You've got some shadows here in the foreground. You're going to be pretty, pretty careful with this part, but just a bit maybe coming out like that. If you want some more light on that side, just just leave more light. Leave more of that wash like that. Imply more of this shadow here to the left. Let's just getting the legs of the legs but just cut around like that. I find also if you increase the darkness at the front in helps with perspective. I'm going to mix up a bit more of this beautiful wear paint. I do have some neutral tint as well that might be quicker bit of neutral tint. Here we go. Drop that in there. 22. Paris: Shadows: That coolness. Here. The great thing is just having this all mixed and turn into one shape like this. This is simplified, dark shaped down the bottom. Go in and get the cars and stuff. Just a moment. That large shadow is the first thing you need to do. It's quite urgent. You've got to do it all at once. All at once. Just having a look at that shadow and just seeing if, if it makes sense to you. Because just having a look, we know it goes all the way across the building like that. They're just trying to bring it down further so that the source of that shadow is made more apparent. We know it's from the adjacent building somewhere there. Fantastic. Good, good. So what we can start doing now is also looking at some of the shadows for the figures again, just to blend everything in and I like to use a smaller round brush to get in the shadows of the figures. We can sort of just stop putting in maybe a bit of a leg like that. Then creating a little shadow on the ground like that leg. There's this figure here, a bit of a shadow running behind. Make sure the shadow is run on the same directions as well. So as you can see, this one that runs both on the same direction, they're bit here at one coming off like this as well. You've got to figure right here, right through the center of everything that leg coming out the back like this. And connecting that shadow up as well. Like that. These legs coming just through this section there as well really makes a difference. I believe not like cutting through the light in this area. Oops, I've gone too far, but it doesn't matter. You get the point. Fantastic. Time to put in a bit of color for those figures as well. So a bit of pick out, pick out what you feel would work for you. Just have a bit of fun with it. I mean, this is some red and pinkish color. Then I'm adding in for this figure. Also what makes a difference is if you add in a little bit of pink or red, light red to the face. Just all just whatever skin tone you'd like to put in. I find this is just easier. Just do it all the same like that. Just to mark their faces out. And if they have like arms and stuff like that, you can I'm putting indication of the figures, arms. You can just start to slowly work. Work the details of these figures in that's maybe like a figure just standing around. I'll mix a bit of yellow for this one and a bit of blue dropping in just to cool it down and you can see it's actually pink color. Maybe put in some more blue at the base here. Like that. Maybe this person is wearing shoes on some genes or something like that. Like that. We've got someone there. Just try to make them look a bit more individual by changing the colors around. I find that helps quite a lot. And you can also drop in some color if it's still wet in a particular area. Because we've got so much light. Bouncing off that right-hand side. I like to leave the figures are a little bit lighter in terms of the colloids that they're wearing. There's actually, there's actually one here that's just almost completely, completely white. You can drop in some gouache in there as well. Make it look like it could be addressed or something like that. They're there. You can pick up a bit of other color. This is a kind of lavender type color, which you can drop in here as well. That's a bit gone, a bit overboard for that one, but that's okay. Here we go. Just again, I'm gonna just put in a bit of this figure here. We can even get in a really dark one too, just as some neutral tint to change it up. I mean that this figure here might be wearing a suit jacket or something like that. Running, running through. Same with this one, maybe just with some like a suit jacket that they're wearing, something like that. I'm not really going to make it too. Obvious. The legs. Sometimes you can redo the legs to make it more little bit more realistic and defined in terms of where they're walking. Like to leave in a bit of lighter color on the back of the back of their shirts and stuff as well. So you can see, let's do something with this one leg maybe here and then link going backwards like that. Might not go through so well because there's a lot of painting paint spread there, but you get the idea. There's some legs on this one. We can leave them a bit lighter as well. We don't have to do it for all of them. Let's have a look, this one, and let's put it in a bit of color here and maybe a bit of teeny bit of color for that figure here. There's also a figure here that I've forgotten about. I want you to put in a bit of this lighter color running through like this to draw that, figuring out a bit more. Getting some neutral tint for the legs like that, just drop in. I'm also going to have probably have to go back into it later because this area is still fairly fairly wet. You've got figures walking through the back as well like that. When you're painting wet into wet, you do find that it does make things a lot more tricky to deal with. I mean, Here's another figure I thought I would just add this figure in. Running through like that. Something simple. And the legs the shadows, of course, don't forget the shadows. The cars. Same deal there. I'm just going to go ahead and pick up a bit of tiny bit of cerulean blue. See if I can just drop in a bit of that for some of the windows. That wind screens, I mean, like that. And I'll leave that sharp edge on as well for some of the cause like that sharp top edge like that. That will help it to retain shape. Then at the bottom of the base, just I'm going to start adding a bit of darkness, bit of brown and a bit of a neutral tint perhaps in here. The base of that car. We didn't have to make it perfect, Just just getting the base of it kind of thing. Let's have a look at these car. We might have some lighter paint like this. Running through here. Then down the right-hand side. Darker, like this. There we go. Good. While this is doing its thing, I'm going to work on the buildings because this is going to be a bit tricky to do. Just to get in a shop a shadow with the cause in while this area is still wet. I'm going to start working a bit on the buildings and I'll show you just some of the techniques I use. I'll pick up this really dark paint and it'll dry off the brush. And I'll hold the brush kind of at the end. And this is what I do. I'll just go through and pick out little details. So that's why I say, don't always draw everything in, in, in trying to get all the detail while the painting, while you're using the pencil. Because you're going to have to go over with the brush anyway to darken things up, to add in more details here and there. These windows, especially, you just need a few little lines in here. I mean, at the bottom there is like more maybe dark and dairy for some of the windows, but for most of them it's not not really too much there to add in. I'm just trying to indicate edges of some of these areas and a lot of the time in watercolors, It's hard to explain, but sometimes we need just leave things unfinished or partially painted in. It looks better, much better than if you'd labor over and try to get in a drawer, everything that you see, we indicate it looks so much better. So something that took me awhile to figure out but has saved me one a lot of time in a lot of disappointment as well. There's another window, you've got another window or something like that here. Simplify down, of course two lines again, then another couple here. Let's have a look. There's a shop front in here somewhere. Use the cut around that figure, a touch like that. What have we got here also maybe like a shop front. I'll just indicate that a bit. I didn't realize, but there is a little lamp here on that right-hand side as well. So I don't know if we can we can get this in, but just perhaps just drawing over the top like this. I'm beautiful. That lamp just goes off to that right-hand side. Like that. It's hard to see it even at the moment. Okay, so I'm gonna walk in the building a bit more. Let's go in, put in some of these little areas like that. Another thing that you're going to get through here is just indication of balconies and things as well. So same technique, just picking up a bit of color and dropping it in. And these are the windows and then just dropping a couple of strokes like that. We've got here. Indicate the frames be to the edges like this. It doesn't take a whole lot to indicate a Windows. There's already some little lines and marks in here to show you that there is something in this. All you gotta do is just layer over the top. When it dries, promise you it looks so much better. It looks more put together. But at the moment when nothing's dried and it looks all kind of funny and parts are shiny and that kind of thing. It doesn't make sense. Not just yeah, especially because we don't have some of the really dark bits in here. I'm going to go around. Let's do some windows huge, just a few little vertical lines like that. Dry the brush off. Two are fine. If you dry the brush off, you can get in this sort of effect which not too obvious, the windows and things that you drawing and painting. Sorry. Let's get in some here as well, some little bit of just dropped in some darker paint. And this will spread around a bit of course, but I'm not concerned with that. We'll just go with it. Sometimes you have some sharp shapes and sometimes you have some softer shapes and it looks good. If you combine the two. That's kind of like the doorway and then we've got a couple more perhaps windows there. Another window here. Would also forgot bit of this separation in this building here as well. Like that. Good, good. The buildings here in the background. We've got a window like that there. We've got another window and a couple of a couple of more like that. As we moved through the back, you find that there's less and less detail required to indicate the actual thing. I tend to lay off the detail as I go back. And that's another, yet another technique that helps with creating depth. Because as you look backwards, you're going to have that reduction in, in detail. Again, you've got things like the floors of the building like that, which you can just indicate in just drawing. And don't overthink it. Sometimes the quicker you do these little bits in the back, the better they actually turn out. But of course, plan out generally where your brush is going to go. Don't just go into haphazardly because sometimes lot of the time that doesn't work as well. Just think of that brushstroke and what you're doing in that particular brushstroke. And then just carried out. The beauty of this top is style is that you never aiming for perfection, not aiming to create something that looks exactly like the reference. You're aiming to create an impression and a feeling of the place of a memory of some sort. It doesn't require too much effort to achieve that. And that's why I really enjoy this sort of sort of style because I'm not slaving away in terms of actually to try to get an accurate, very accurate and photo like depiction where everything that's going on here. Sometimes we forget that we are painters and we're not photographers. Change things up a bit and make it interesting. There are, if you look here, there's like indications of balconies and stuff. So we can again, I can just do something like that to indicate some type of railing. In this section, and again, it just has to be done very, very quickly to indicate there's something there. Little balustrade like that running across here, like little railing. With the reference picture in front of you. You often compare it and you think, geez, It does not look anything like the reference. But in the absence of the reference when you're looking at it afterwards, find Your lot easier on yourself because you're not comparing it. Comparing what your painting to what's going on in the reference photo. Same technique. We're gonna do the exact same thing on that left-hand side. And let's look up here. There's a bit of darkness, a shadow or something running towards the ride. I mean, you've got a bit of some ballast. Again, this already caught railing here, running down the side there. Here that's getting a bit of the side of this building bigger the perspective of the buildings as well. Dry brushing some of this detail on. And of course you might have some windows. And in here, just cut through this mix. To that. Let's have a look at a bit of dry brush up the top like that. And of course, just getting in a few of these windows in bits and pieces in here while you while you in this area, just dry brush them on a lot of this stuff in here is also very difficult to detail because it's quite dark from that shadow. And also, I like to just soften things up as well. It went when things start looking a bit too sharp, I spray a bit of water on kind of like what I did there. Then we can just get in some of these windows in a bit softer. Because if we keep everything too sharp, it's going to look. To reach it. We will just stick out too much detract from the overall scene. So sometimes this is necessary. Building just indicate the edge of that building here. That bit of lot maybe running down like the CGA. Darkness, I mean, Shadow. Good. We've got a larger building here on that left-hand side as well, which needs some attention. A little bit of attention, not too much. Just to separate out the floors and put a dark a bit in here as well. Some indications of some of these railing. And you can see some of the railing, of course, of that building going into the light area of that building, just sort of being hit by the light. These little bits and pieces on the rooftop. They do make a difference to indicate the shape and structure, the booting sometimes I just use this to tidy up the shape of the building a bit. Not too soft against the sky at times. Good. We are almost, almost finished here. While this dries, I'm going to go pick up some little bit of paint and I'm going to just drop in a few little birds in the sky in some areas like there's not any in here in the reference, but I like to put them in sometimes. Not sometimes, but almost all the time. Actually. One of the reasons why I do that as well as because it helps cover up some of these little blotchy bits of paint that I accidentally flipped into the sky at times. So it's good to also joined the sky a little bit with the buildings, believe it or not. So they kind of, um, create a bit of a connection. It's like the tops of these buildings, little bit darker in some areas. That's what it helps with. It connects it all up in ways. Fantastic. We're gonna give this a real quick dry, okay, we're just about done here and finishing to finish things off, I will put in some little shadows for the cars. Because I had not done that before. Just a bit of neutral tint. Just drawer basically just put in a bit of a shadow underneath and perhaps running towards that right-hand side. Indicate the wheels a little bit more like that. Just to give it some more. Presents the shadow underneath the car makes quite a big difference actually in positions that kind of anchors it to the ground. This here looks just trying to get in an indication of the car perhaps turning into there. Like that. We can already see what's going on with the figures. Of course. Fantastic. Oldest stuff has dried. So again, you can start going back in here. Really, it's up to you how much you want a detail into these areas. Let's have a look. What else can we potentially potentially adding here a little bit of dry brush indications for the Windows running through the shadows and bits and pieces here, Here. Bit more indication for the sort of squareness of the windows as well. So it's basically just touching things up. And this bit can take you really the longest amount of time to paint in if you allow it to. For me, I just stop at a certain point where I feel it looks good enough because you can really take this too far and be here trying to get everything in and missing the ultimate point of your scene. Just allows you to put in really just some final finishing touches. And if you've got some additional shadows and things like that that you want to put into it, add extra detailing. You see, I'm just putting in some darkness around the edges of the windows down the base and around the figures as well, perhaps like this, to help them come out a bit better, a bit more in a bit more indicative kind of work. As we move down the back again, look, it's just so sought to win there you can barely see. I like to use a bit of gouache, little bit of whitewash to bring out the figures. We'll squeeze a bit of this on the palette. Stupid, pure white gouache. And it's an opaque paint that allows me to of course, bring out some final highlights that we that we need. Before I do, I'm just going to dry brush perhaps a little bit of brown brown paint or something like that bit of brown darker paint on some of the figures, the heads to get an indication of the hair. That helps to frame the faces as well. At times, just a bit of herring like that. Change the color. I mean, put a bit of another color in there as well, like that person there. Let's get into some of that white gouache. I'm just picking up straight from the palette. I haven't got anything mixed in there. It's easy to get mixed in with other stuff. So there's a bit of what should we try first, perhaps, perhaps here on this figure. White and a bit on the head like that. Easy to overdo it. You just got to be careful that you're not exaggerating it too much. A little bit on the head and often on the shoulders helps. Just dropping it in like that. Spend too much time trying to get it in. Paint too much of the Guassian in a in a kind of accurate manner. It just stuffs it up. So you got to just get in a bit of that, little bit of that for the highlights. You know, here's a bit for this figure in pairs have been on the left-hand side of them. A bit of the shoulder like that. Something pretty simple. I mean, you can't really see that figure. And often, I do see the cars. You might see a bit of this little sparkle and edges on the top and the left-hand side of the car. A bit here that might have disappeared. For that car on the left, we can bring that out a touch as well. Even the tail lights we can indicate like this. Like that. The car. It's interesting and it's kind of like a finishing touch that cause the scene together. Not only that, you can also go into the buildings again and thinking, Hey, I want a bit of light back there or what have you, but try not to overdo it. Try not to overdo it. That's my only suggestion. You get enough in there and then just leave it. For this base might have a bit of something like that near their peak here perhaps on the edges of this that section here, they're just coming out like that. That's even probably too much. But bit of light running through there. That's finished. 23. River Scene: Light: We're going to paint the scene of river and some trees. One of the first things that aren't gonna do is start by drawing a line roughly around the horizon line and it's just below the center point of the page. So look at where the trees take take root into the ground. It's about the same place as where the grass ends as well. Then there's a blue dip here in the center where the river is. We don't need to worry about that too much. Just like this. It seems like this is really not that much drawing involved. The main thing is just separating elements of land with water. Getting in the big shapes like the trees as a big sort of tree coming up and growing across like that. But a lot of it is essentially just these large shapes and we can get an, a softer shapes as we paint afterwards, we're going to go ahead and just drew in a little bit like this slide here like that. Let me go and start putting in a bit of this kind of mounds of a grass and shrubs. Have you growing near the river bank? And we know it finishes roughly around here. There's some reflections in the water as well. Just coming down. I'm not gonna draw them in just yet. But as you can see, there's these little mounds which ended up kind of need the water. And if you indicate them a little bit, it does help for later so that we don't have to think too much about the dimensionality, the incline, and what have you of these slipping areas. Just go ahead a little bit of that in there. Another thing is this tree. So there is a larger, so a tree that you're going to start right here, but again, you don't have to get in exactly as it is in the reference. I'm just kind of estimating. And you can start off with little bits like this and then turn them into more. It is on a bit of, again, a little bit of a slant as well here tree is growing downwards into the grass, see a mound here, the amount of grass, and they sort of just curve around like this and then get a bit larger than here. But these main trunk of this tree, now, we could just make sure that there's a bit more detail in here and more of a I guess a bit of a plan and structure for later on. Of course, you can change the structure of the tree too. If you feel like you want it to be bigger or what have you, you can put a few more branches and what have you in there? This is all done doing just gonna put the trunk in for now, the rest of it, I'm going to get an actually with the watercolors. There's another tree just across here. It's almost touching the other trunk. You can see it just growing again into the side of this river bank there. Here we go. This solid like that kinda goes up, then turns into largest area above, just with lots of leaves. One tree. Do see others running through the centers row like this. I mean, there's a few others running in the background like that so the trees get softer as you can see, as you sort of moves off into the distance. There is another tree that's here as well, so we can just indicate the trunk roughly here. This one's a little straight, are actually slightly slanted to the left. You can see it kind of just grows all the way across, like this comes across the river. And the great thing is that it actually joins the composition. So we've got tree here, we're going to treat it the right tree to the left. Multiple trees, so left. Also interestingly, we have also got trees that run above and some branches and what have you. So I'm going to indicate that, but before I do again, I'm just going to start putting in a little indication, rough indication of where the leaves sort of taper off. It's hard to see exactly. But I quite like these little branches coming out from the top here. And some leaves as well that you can see sort of larger style leaves coming across like this. And getting individual leaves as well. As I'm doing here. You can see a bit more detail in each of the, each of the areas. This will be quite interesting to do later, but it's a finishing stage right at the end. Again, I'm not going to spend all too much time drawing all the scene because it's gonna take a while. And it's much more effective if we do it with the brush and change things around a bit. Rot in the background, you actually noticed some softer tree shapes. You see that just a little softer shapes here in the distance. That's just going to indicate the background. I'm canopy area like that. So I'm just putting in a little bit of a tree line here in the background. Now this side, There's something that I feel we need to add in here because I think this just something missing there. I really want to add in and I'm happy to look and try to figure out also the light source coming from the left-hand side. Perhaps if I get in a tree just to maybe a bit of an angle or something like that. Coming out like this random around the same areas, that tree. Okay. Just a bit of the trunk. I'm just going to make this one up. Not fast on details, but I think another one he would be good because there's just something missing around this area. Would be nice, perhaps even another. We can even get another coming in from a separate angle like this growing near the bank. This can then perhaps form some shadows running towards the right. Like that. Sometimes I think changing up the composition a bit can lead to a better, a better painting. Paint in photographs like this. You can get away with very simple details. I will simple shots because the camera will capture so much detail. But when we're talking about a painting where we're emitting a lot of detail, makes sense at times. That we are also adding something into makeup for parts of it that we may not actually add in. These trees look a bit funny, but you can still change it up later on anyhow, if we need to. Okay. I just wanted to get in a quick brief indication of some of those trees. Great. This is kind of an elevated land as well as to see some of these mounds and stuff going in, all sorted out later. I think that's a good, good starting point for the painting. And what I want to do first is, of course, just plan out the initial washes. And the thing I like to do first in these types of scenes, especially where we've got lots of green and blues and stuff like that is I think getting the yellows first because that's just going to stop it from going into any of the other areas and causing issues later on. And what I'll start off with is using and perhaps a bit of color code, a little bit of quinacridone, burnt orange. Grabbing a brush. Brush. This is a watercolor mop brush. And then quinacridone, burnt orange is a really lovely color for sort of and subdued sunlight. Gonna put some of this and I've got that straight off the palette though. I also like to just mix it up here too. You can just mix up a little bit here on the palette and just drop it in and be fairly liberal, fairly liberal with it. But I tend to mix it up. It makes a lot of it up with just water, especially in this top section. I figured the paint brushes too small, so I'm going to swap over to another larger mop brush. These brushes are fantastic. I use them so much landscapes now because they pick up a lot of water and then give a really soft, soft, incredibly soft feeling as well. Getting a bit of the details at the same time because we've got sharp a tip there. I'm just going through and you'll notice some of the trees as well. They're slightly sunlit. Leave a bit of white in there like that. We don't have to color it all in. We can move over to the right-hand side. You will notice that it starts getting a little more bluish in the sky. Okay. That's what I mean in terms of getting in that golden light, old and sort of light I tried to get that into, start off with that orange first and then we'll go in later. And some other colors. Fantastic. So let's pick up of Cerulean Blue, Cerulean Blue. Going to also dilute this down a Fitbit. Let's drop that into the sky. It's very, very dilute sort of cerulean up here. I tend to make it a bit thicker at the top. Then I'll join it up with this orange. Again, this is just indicating that light source coming from the left. And I don't want the sky to be completely blew that just have little mixes of orange in there as well to help it blend. And wherever they're saying they saw it is probably more more bluish on that right-hand side. You've got a lot of oranges on the left-hand side. At the same time. We really got to make sure that there's enough blue in here. Very light wash As you can see. Most of this is just water. This area probably not quite enough in there, but carry this down like this. And again, you've got these like little trees here that you can just cut around a little bit like that. I'm going to drop this paint down, this blue down like this. You can see it kind of mixing together slightly here. Let's drop in a bit of blue in here, just a tiny bit of blue in there. To feather it in. It's feathered in there a little bit. Now in the top section of the painting, where you're going to notice is also a little bit of darkness, slightly more darker air in the sky. This is where I pick up a bit of ultramarine, mix it in with the cerulean and dark and off this area of the sky slightly while the paint is still wet. And this helps you to get in a little bit of an indication of this dark area of the sky. And then it just sort of fades down to a lighter wash, lot of washed down the page. And as we go down to the page again, let's bring a bit of this orange down a little bit into the water. You in the end here like that. He's trying to be more engineering. And take notice is how I feel I worked from the top to bottom of the page. Here. It's getting a little bit more greener as well. So I'm going to pick up a bit of undersea green. Here. You've got sap green, you can also use that as well. I tend to work with little more subdued colors at the moment. I'm just mixing up a bit of Hansa yellow. We'd, we'd have Hansa yellow medium with a bit of undersea green and this will just lighten up that green touch. But it doesn't make it overly vibrant. And I want that. Just bring this down like that. You can put in a bit of yellow in here if I feel that it just requires a little more, something like that, a little bit more vibrancy. And just bring this down near the water and this will dry off slightly. All that's happening, we're going to work over on this left-hand side. Bit more green, little bit more, more green here, green and yellow here and that side. More like this. Have some of it come down into the area as well, these mounds of shrubs and things nearly lost the tree back there, but when it dries off, I think it's going to look better. I'm gonna be able to tell actually what's going on in there. But at the moment It's quite tricky to tell due to the areas stooping, slightly damp. What I want to do now is, is pick up a bit of the orange, again, carry beautified down like that. But also start picking up a bit of the blue cerulean. Now, the color in this, this area of the water is not entirely blue. In fact, it's kind of a subdued sort of balloon areas. You can see a bit more of it. But say for example here, here. So you can end with the largest sort of brushstrokes at the bottom like this. This, this Dropped in a little bit of ultramarine there. You gotta be careful with that though, because it can be overwhelming at times. I want to make sure that back point there's just soft enough that it mixes. You can't leave little bits of white as well. Just little patches, little pots like that. Went with the water pulls a bit. You can also lift off with the brush just to remove that water to prevent it from mixing too much into the rest of the painting. Let's go in a bit more blue here. And you can see this cerulean. It just dries so quickly coming down and the water is just super dark around this point. A bit more blue, little bit more. Kind of almost a turquoise color as I move further down like that. Now what we can do is pick up darker bits of blue. I can mix it in with a bit of brown to just get a darker mix. Just dropping a few of these little leaves me with things like that. Perhaps more brown. Want it to be just darker than that. This is creating a little bit of reflected water. Reflections in the water that look a bit more brown with ultramarine, ultramarine and brown make a really nice, just a really nice sort of mixture, dark mix. Going to go. So keep in mind this section here on the right, which is also fairly dark, it just sticks out into the water. It's sharp edge like that. And you get little reflections in there too. Okay. I'm just gonna start putting in a few little ripples and what have you in the water while I'm here and the paint is still wet. This is what I do, just dropping a few little bits in pieces like this. Spontaneous little lift and right sort of the nose and they just join up in areas but keep it very light and only do this while the paper is wet as well. Helps the water just mix a little bit better. I'll have to put in the reflections of some of these trees later on. Perhaps even re-wet that area are a bit. Let's drop in some more. Dropping a little bit more. I'm gonna stand up a little bit as well. This helps you stand up and have a look at it from a distance and times when I lose perspective on what I'm actually doing when I stand up and look at the areas as more larger bits and pieces, I can focus on that. Then we're going to leave a bit of light maybe coming through in these areas, but Trump it in shopping that paint, it's going to be dark in this area. It's just a bit of green, bit of undersea green in here. I want to also just create a sense of these mounds here. So I don't want to go over all of it. Some bits will be a little bit lighter as exceeds left that a bit light. That's section maybe here as well. Just like that. Fantastic. Let's have a look. Pick up a smaller round brush and continue. Again, just continue to slowly add in little details. One of the things I forgotten here in the background, there's these little trees off in the distance. This so subtle, but we can get the mean already. Look at that just to drop, drop of paint like that. We might be able to already indicate what is back there. We're going to mix in to the sky, got some soft the trees that bring it down a bit more actually somewhere around here. This is this has been of these trees here in the back. This trip it in, drop it in and let it do its thing. Omega at some sharper ones and actually light up, but this will be a stop. Negative. Remember this whole area is still fairly wet. While, while it is still wet. This is that opportunity to just drop in some again, some little indications of some darker bits of grass or shrubs and things like that in here that blending nicely. One of the things I also feel I want to add in some more color two is just the base here where it's kind of I feel like it's not dark enough here in some certain areas just to indicate the the waterline. So I can just again redo go over like this because that area is still a bit damp. We're going to be fine. We'll be fine and just drop that in. Again, you get some little reflections in here in the water. I do also keep one of these spray bottles around at times to re-wet areas if I need to, I don't think it's necessary right now. But for example, I mean, just over here, if I want to re-wet this area to help it spread better, you can do that. And that will just soften that area. You've got to look at the overall picture and have some faith that by the end of this, something will emerge from it. Because at this stage, I think a lot of people tend to look at the painting and think it doesn't look like anything. It's stuffed it up. But you've got to remember that with watercolors, it's set. That's sort of cumulative process. And at some point something will take shape in here. But we've got to be patient. Got to be really patient and we got to persist. A couple of little tricks here. I've got some brushes, got a rigger brush, I've got a fan brush. These are great little brushes for putting in, again little details. For example, and pick up a bit of this dark and mix of blue and brown mixed together. Blue and brown. Brown just adds a bit of that warmth in here. And I'm just dropping a bit key. Am I drop in a bit here like that? That kind of looks like a shrub. The quicker you do it sometimes the better it looks. But it's not just about being haphazard constantly. You've got to also balance it. So that's some of the some of the lot area is also remaining here. I'm trying to indicate in this section maybe a shrub or leaves or shops just coming off in different areas like that. A little bit of that dry brush near the water, something like that. Drop a bit more paint into the base of this area here as well. You'd be surprised just how much how much it starts to lighten office, the paint dries. It's quite amazing. But having strong indication of where the bottom ovalis begins goes a long way. More. I'll put a bit more here to blend a bit better. Sometimes it looks too perfect and you have to dirty it up a bit. It's funny to say, but it just happens. A fantastic, slowly, slowly starting to come together. In terms of the oldest softer shapes in here. Again, I'm gonna redo some of these trees back here, just dropping a teeny bit more paint. This section. Let it kind of mixing. Good to remember to just try to preserve some of that orange and went a bit overboard in here. I can just put in some more orange to redo it. We have orange and soften that down. A little tissue sometimes can help lift off a bit like that. Great. We'll just continue working on this rigger brush, little rigger brushes. I had four. I'm going to pick up purple paint and mix that in with some green. Just to get a dark, dark pseudo color. We can just drop in a few indications of like shrubs and things growing on the side here like that. One of the few here. Remember, we will actually use some gouache late too, so you don't feel like she would like it's looking true lights in this section. There's nothing that is not the end of it just yet. One thing I'll need to do is, again, dark in this area a bit more. There's something that's not quite right here in terms of the darkness. And I'll use spray a bit of, spray, bit of water from a distance like this, and create loose speckles of interesting speckles running around. Little blooms. Used to be afraid of this, needs to be really terrified of doing this, but now I can't do without it. When I paint landscapes. You never know what will happen. But normally, normally it looks good. When you're finished. Bit more coming down, just need a doc in this area, the middle. Try to paint the tones rather than the actual objects and bits of things that are in the tones will get you far. Good. I'm going to drop into this area a little bit of light green, just a little bit light wash of green. Let's mix that around a bit. Green, maybe yellow, familiar yellow actually in here. Let me go do its thing. These leaves are whenever you beautiful in that section. And we'll go in there later and continue. Continue it off. Once this is all dried, forgot this little bit here as well. I'm going to just finish that off. Like that. Joins onto some kind of tree. Tree shape here. Expose sides. Good. All right, I'm going to draw this off. 24. River Scene: Shadows: What I'm doing here is I'm using a edge of a knife and the edge of a knife to scratch off a bit of paint. What this is doing is just, I'm just trying to create some little edges, some sharp edges to indicate some of these shrubs. As you can see, they come out and you get these little highlights where the light hits the shrubs in certain areas. So you get this sort of thing going on like that. Subtle. But it's a very useful technique. In terms of employing depth, little bit of depth in your, in your own paintings. You can also use a credit card or a plastic card, basically anything that might scratch away at it, then we don't worry too much about it damaging the paper, especially if you've got cotton, watercolor paper. Don't worry too much at all. It will survive, trust me. But this is another option other than using some gouache at the end, which again, we're going to do anyhow. But it's another option to create some variation in here because we've got all these areas, these areas that are just completely filled with darkness and what have you in. Some of these helps to relieve provide a bit of relief to that. When it's dried you I mean, it's hard to even tell that you've even scratched it out, but sharpness with softness. The opposition of the two, it creates something quite interesting. What you need to do is just wait for the paper to almost dry. Kind of like the damp stage papers are slightly damp. Stand back, have a look at it and think, what can I do to add in a bit of detail, adding a bit of texture in here. Go ahead and do it, Give it a try. I'll draw the rest of it off. What I want to do is to add in the trees, maybe some shadows. Additional shadows during the water will have to get in part of that tree shadow as well here in the water, I do feel some of this does need to be dark and off a bit or we may be able to just get away with it. Try not to go back into a lovely little wash like this because you then to get rid of that, that's spontaneous sort of fill in the freshness of it. So I don't need to do it on I want. But let's see let's see how we go. Having a look at this left-hand side, I have lost a bit of where the tree is, but I know that it's around here. I'm going to just pick up a bit of this brown. Brown. I do have some burnt sienna as well, which works nicely, says drop a bit in here like that. Look at that reference. Sometimes. If you just look at that reference, you might be able to replicate that. Goes into the ground somewhere around here. Like that. Okay. Maybe switch to a smaller round brush to this area has not completely dried as well. It's mostly dried but there's still a little bit of dampness in it and I'm completely fine with that actually because I do want it to just soft enough a little bit in this area rather than stick out too much. Getting the treats definitely on a bit of a slope like this again, that just using some brown burnt sienna paint. Fairly light at this stage. Nothing to nothing too dark. Coming up like that. The great thing about trees is you don't have to really gonna have to really bother or too much with the the colors, the colors, but the form of the tree, as long as you've got a good general form in there, you're fine because as you know with a lot of trees, they just come in all shapes and forms. The beauty of landscapes that you have a lot of what I believed to be artistic freedom. Just going to put in a bit of these little indication for the leaves with the leaves come out in the tree. I like that a bit more green up here. And if it can mix around a bit, I don't mind, I'd prefer it to actually mix mix it a little bit more actually. Now there's now the tree behind darkness in there. Notice the tree has extra documents in that right-hand side because we've got light on the left-hand side. Literary this golden orange in here, which I can just pick up, drop in yet again, like that. Again with the soft edges where the tree ends. Don't worry about that. Especially entrepreneurs tried to leave this area a little bit damp, slightly damp. I didn't draw it completely for that reason so that we've got some softness running through there. Sometimes I even grab a bit of tissue like this and just dab off the edges. That kind of helps it to soften, soften that area down a bit. Now we've got another tree or something here in the background of lost the pencil. But I'm going to just go into it like this. It comes up like that. There comes down and then dips into the ground somewhere like that. Good. Bit more brown, mix up a bit more of that brown. This one doesn't need to be dark on that right-hand side. I'm going to just darken that down a bit. You can see how it just goes in. The branches sort of blend in as well. We want that, we want that to happen. Some of the noise blending into the, into the leaves. This section here, I'll just soften a little bit in there. Okay. Redo that. I like to let it dry a little bit before I go back in as well. And there are also trees here in the background. You can see just like beautiful trunk or something like that. Then we might have a few more that are just near the bank. You can barely see them near the back. It just becomes so light. That's where I'd like to just indicate rather than put too much in there. However, with that said, you can see that these all these leaves just so dark. I'm going to drop in a bit more of that paint like this. Kind of goes all the way over here. So I need to redo that bit like that. There we go. Good, good, good bit more orange perhaps in this area to soften this. A bit down. Bit of green. This Beta tree here in the background and the distance as well. Notice it starts to really join up a bit. The tree on the right. I'm going to go ahead and indicate that there this has started to do a funny thing. Let's lift, lift a bit of that color. That's better. More fading effect here in the background. More green. Again, just to join up, to join up the two sides tree there. Of course. I had put in indications of another tree here and here. That brush, Brush, Script, these other bigger, bigger round brushes, quicker. Splitting a bit more on their work on the tree trunk. So little bit now. Some brown, a bit of ultramarine blue and a bit of brown mixed together. Just getting a bit of a tree maps running these sort of direction there. Get another one in kind of like this near the bank. Some more brown running through like this, like that sort of edge of that tree like that. There we might have something here as well. Let me get into a bit of this. Green is, at this point, tiny bit of brown coming down here. That good. Some of these will create some interesting shadows running to the right as well. So I think I'll leave that I quite like the spontaneity of those the trees the way I did those trees in the right here, I just need to soften off this edge where that tree comes into the mound or what have you there. But good thing is, I can now start putting in light washes over the top like this to indicate to bring out these mounds of whenever you grass Nia. Just a little a little wash like that. Over the top. Good. Just over the top again. Good that we have some little highlights in there too. Okay, Fantastic. Let's refine it. Say keep refining these trees a bit more. I'm going to just start by putting in some small brown and brown and a bit of blue to get in. Again, just a really dark color, but predominantly, predominantly central brownie mix in here. We can do is start putting in some details. Will the tree branches, smaller tree branches in here? If you've got a rigger brush. This also helps you to do it. More. Spontaneity. Mix up a bit of brown here, bit of ultramarine in there as well. Too dark and off this mix It's pretty dark. And as you can see, we can just go in, for example, I can go into this top bit here like that. That kind of mixing to be like that. It's almost so much using some dry brush. And we can get a bit of this sort of thing going off like that. That little soft bits of what have you in this little soft bits of these tree branches and things blend and melting. Always hold that rigor rod at the end and that will, that will make things a lot easier for you as well. Here's that other bit of the tree. Bit more darkness in there as well. I can just indicates some more of these other small trees back there, perhaps. Some of the branches that part of them. Beautiful green, maybe a bit more darkness in here. Doc, a sort of green in there. Sometimes just flicking in a bit of green as well, helps like that. More than that. It's just the same, same sort of deal I suppose, but just getting in some attributes of darkness in here and drawing out the details of the branches. All of them but just some of the branches as you can see, just coming up and forming, giving a bit more formed the tree like that. Coming out like that, even coming out at the top, sometimes you get some branches that poke at the top like that. Just to roughen up the edges slightly because they just look a bit too perfect at the moment. Fantastic. Housing the water. One thing we want to do is just get some more of these reflections of the trees running through. I'm going to just go, I'm just gonna go in and do it. Pick up a bit of this brown and bluish mix. I can get in user logic brush even to do this, it might be better. Something like that. Maybe do this 1 first is probably the easiest to just reflection running downwards like that. Something quick there. This one here coming off in a bit of an angle like this and get a bit of the bottom of that tree to just running through the reflection. And this one here, perhaps just coming out like this. I want a bit of an angle like that and coming up and turning into larger sort of shape in the water. Connect the shadows onto each other. Little one here in the fact that around like that bit of blending in like that. Another thing I wanted to do is of course get that shadow running to the right for some of these trees and not actually as pronounced as I'm making them, but I thought, let's try to change things up a little bit. Sometimes the shadows will be varied as well. And they won't be as sharp because you're gonna be, they're gonna be on top of bits of grass and stuff like that. This brush here, the little fan brush. I can go in and start putting in a little bit more paint down below. Here. Brown and a bit of brown and purple like that. Just getting a few little darker bits near the base where the touches the water. To just to help again indicate the edge. The water. Better. Looking for some other details to put in you. That rigor brush, that right-hand side. I'll just mix myself up another fresh sort of dark and mix just a cool color like a purple or a blue mixed with a bit of brown. From here, just working your way up to create a bit more contrast in the tree, I need to darken this trunk a bit larger tree. Just want to dock and more a bit more darkness on it as well. We are very close to finishing this off. It's almost, it's almost done. It's really almost finished. The final touches really is just perhaps a bit of gouache. And some places maybe this logic tree of something coming across the top. I think that would be interesting, shaped putting, Let's give that a go. I'm gonna pick up this flat brush, round brush going in. It's putting a branch. Firstly, I'll go in with some of this darker color, brown with a bit of what you would call it blue mixed in it. Like this. Just a few little branches coming off like that. Close off like that. Maybe a few running across the top there as well. The great thing about these little branches that they, again, they start to connect up the sky a bit. And the composition, you want to make sure you're leaving enough for that sky in there as well. So. Overdoing it. Also tend to dry brush a load or the scene so that it's not too overwhelming. Just a few little indications of some leaves or what have you. I'm just putting in just dropping in a little strokes like this. Because of course the brush already looks like a leaf in a way so we can use the natural shape of the brush to indicate leaves. The easy way. Quick way as well. More up here. Here are some more at the top, like this color in there. I'll give it a try. Okay, some finishing touches. I'm going to pick up some gouache here, just a bit of white gouache, and I'm going to mix it down with some yellow to create just some little warm highlights. Hopefully. Find some on the tree perhaps here just a bit up here. The sides, maybe just kind of indications of light running up some parts of the tree here like that. Not to overdo it as well. Sometimes you do get a bit up in the leaves as well, perhaps. Like just kind of catching onto onto some of the leaves. What's also good as using the flat brush to pick up, fan brush to pick up a bit of this paint. We can also get in some tiny blue highlights like this. Running through grass areas. You might even have some up here. The trees just indicating some of these light. Another thing just, um, hopefully be able to indicate some more of the undulation of the land by getting in some of these too just in little directions as you can see. Some of them covering certain portion off the land like these kind of following this line and another one following that line to indicate rows of almost like rows of these shrubs. You can see because we already had done a bit of work with those shots before. You can see it's just makes it a lot easier to just add in the remaining bits that we went to. Shopping off. Gouache is such a crucial part, I think at times to just bring everything, bring everything together. Too much of it can look. I can look a bit funny, but I find that it does save a lot of paintings in my opinion it, or bring it all together in ways that without it just doesn't look quite right. So like this bit here where we might have a few strands of grass or something like that just growing up in that section like this, near the trees as well. You do find this grass and stuff like that just growing near the trees. They're just running up in there. Being here. We've of course need to do someone that right-hand side again. And they work well around the base of the trees where the just like these, like little little spots like that. Remember to keep them varied as well. So not all the same, going in the same direction. But here, work a bit more on the tree. It's a bit more detail on that tree. Running through like that. Small branches can be tricky. At times, do these branches of the trees and just keep them loose enough. This well, because overdo it really started to stick out too much. I don't really look so good after a while, so great. I might pick up a bit of green and just mix that in with some gouache and a bit of yellow as well. We get a kind of a greenish color. That's another opportunity for us to again, just dropping a bit of color for the trees. The edges of the trees for some textures. Indications of lots left side of them as well, like this. Like that. They're really helps to soften a bit of this. At least sort of leaves on the left-hand side and create a bit more of texture in here. Maybe the texture. There we go. Funny strikes going all over the place. Create a bit of something else in here. Would it be more up in the distance in this section as well? We might have a video here. Great. All right, I leave it as that. 25. Taj Mahal: Light: Okay, so we're going to be doing a painting of the Taj Mahal. And I'm gonna keep it very loose and just try to get the general indication of the buildings in the background because there's really so much detail in there. I want to show you just how I simplify everything down. Now if we look at the buildings, There's actually a lot of light back there contains most of the light painting. The sky is a kind of beautiful misty, perhaps it's pepsin. Pepsin is missed, but it's a little bit of this atmospheric feel. Even here on the right-hand side was a bit of smoke or something like that. I think it's quite interesting that we can get in a bit of watercolor in them any bit of quash or something like that to indicate that. First step, we're gonna go into the foreground. Foreground, but just underneath the building, we're going to look here, is just over here. I'm actually going to shift it. May shift it. Yeah. It's around the center of the scene. We see let me go. I'm making shift it a little bit to the right. But firstly, let's put in a little drawing here, little line here with the duty ends at the bottom. Now the way I sort of look at it is look at the middle of the, middle of the painting or the reference photo. Cut it, cut it in half. Then we're gonna look at where the halfway point, and I'm going to have a look at where the building ends and it's about the quarter point, slightly lower than the quarter point. Maybe here. It's not exact because some of the buildings actually started a bit higher than that point. And then we've got part of this river here running along the ground and near to the need to, whichever you similarly over that side, but then there's lots of grass and things like that. So it's all really far away in the distance, actually very difficult to see to try and make that recessive or the water kind of ends here. I have no idea what is actually in this section. I'm not going to make an effort to draw it all in. But what I will do is perhaps adding a few little indications of something over here. There are little buildings, bits of life as people near the river and stuff like that here as well. And of course we'll start marking out some of these larger trees. I put it in like that here. Again, not perfectly, doesn't have to be perfect. We're just looking at the tones. This is all one big tone. It's just homeless the same time, really, really dark. And then behind that we have this beautiful light and where the buildings are. We going to be a little more careful here, but at the same time, don't worry. It's not 100% perfect. Okay, and it's kind of like a wall, almost like a golden golden looking more, but it's a kind of brownish, yellowish brown sort of wall there. Let's go in and put in a few of these little domes on this one here, and we'll finish them off late. I just want to place them generally, one to three is a largest minarets over here. I think that's what you call them along a minaret of something going up there. Like I said, these little domes here. Want to make sure that they are detailed enough. I didn't really like this minaret of I've not put in just enough detail there. I'm gonna go over and notice how I've actually made them a little bit larger to I wanted to just bring them give it a little more enlargement, bringing a little bit further to the front. This little dome there as well. Don't be afraid to also indicate the edges of the dome to make it darker. If you're not if you don't want it to lose that form when you go back into it later, but this will help. The top of one there. There's one here As well behind and a bit of darkness underneath there like that. And you've got a couple of little ones maybe here. We're going to be indicated afterwards. And there's a big one here. It's kind of like this sounds like he and goes around the side like that. There. You can spend all day doing this, but I'm just trying to get in a indication of what this is. Not gonna be here all day. These are the front part of it. You can see the kind of the trees and stuff thoughts start to receive them. Like that. There's a bit of something here in front, which you've got a couple of towers that just stretch up roundabout here. Two more minarets. I think they called minarets, I'm not entirely sure, but just longer sort of structures like this. Coming down. Do they sort of end like further down here? They told something in the middle there like a bit of a gate or something. Another nother top of the dorm, another minaret behind here. This ends off, finishes off. Sorry, I ran about here is like a gate or something. I think that's the The front part of the Taj Mahal? That I'm not entirely sure, but I think that's what it is. I think that's where it is anyway. Stuff here, whether I'm gonna make it come down this wall here. What I'll do is I'm just going to bring up the horizon line because I've now realized it's too low. Where I've drawn this kind of wall. It doesn't matter. I'm just a little indication you fit here. There's something he owned the river banks, some kind of something dad and know what it is. But let's put in a bit more huge building next door like this. Of course, in this section here in a tiny little doing PO2. As you can see, just simplifying everything down. A dome, putting in a semicircle in some parts. In other parts. The wall and stuff, we'll just put it in more of like a rectangular shape. Just getting the shapes. Don't try to actually draw what you're looking at. Simplified down to shapes. And you would take a lot of, you take a lot of stress off you. That's it. And that's something I've done. I've certainly enlarge and everything. It's kind of almost like a zoomed in version of what the reference is. But for the bit of paper I'm using, I think I want to have a bit of a larger indication in the k. This is interesting. I really liked this section here with, with, uh, water is a bit of the land in front. That's it. It's about all the drawing that I'm going to do and we're gonna go ahead and get started. I'm gonna be using a mop brush, watercolor mop brush. And the first thing that I would do, in fact, I've got a few more brushes and you just smaller mop brushes pickup, a kind of a yellowish color. So I'm gonna go in with a bright Hansa Yellow hansa yellow light and mixed with a little bit, just a touch of what? Little bit of this color here, which is buff titanium. It's pretty light. But actually it's more kind of creamy white color in real life. But as you can see here, the sun's hitting it directly. And so you're getting a lot of you certainly getting a lot of this warmth. A bit more warm than is actually its true color, true representation in some more subdued light. But I do like that. I'm going to go through. But it does look a little bit more sandstone here at the moment, but that's again just due to the lots. Here. I'm using a very light mix of color. It's almost twenty-five percent paint. Most of it's just water. This is very important so that you don't overdo things. Just because it's, there doesn't mean you have to like coloring as well. So you can leave a bit of it like that. Leave a bit of the wild. It can pick up a bit of this burnt sienna here. I do like this burnt sienna and drop that in with a bit of yellow ocher for this wall. I mean, it's actually gotten a bit more orangey color to it here. Believe it or not, we're just kind of around here. They're getting a bit of that. This kind of wall here underneath, something like that. I love to get things overlapping and mixing with each other, that sort of thing. So that it just looks a bit more fluid and a little bit more natural. In fact, here you'll notice there's a bit of orange in the minimum of these minarets. Put a bit in there as well. In here, just a little bit of brown. We're not trying to get in detail is really at the moment, we're just getting in colors to mix in creating basic forms. Really basic forms, but not worrying too much about accuracy at the moment. We can go in there and chalk around everything once the once we put in the sky, which I will make suddenly darker, I really want to change this one. Make this one a little bit more. I'm gonna have to cut around it later with the pain because the shape of it is almost a little bit too round. It's actually more of an onion like shapes comes in the side, curves in a bit more at the sides, but that's okay. Again, this first wash tends to be quite forgiving. You have to get it right through here. Beautiful brown here. That a bit more yellow here up the top. Good. As I move down, I'm going to pick up a bit of green. Maybe we'd have green and just drop that instance is a bit of undersea green. Here. This would just mix in. Going to worry about accuracy is just color. It has to be of color and sharpness as well. But you will get a touch of mixing, believe it or not in this section to let it mix in them. Form in Thomas like one shape that kind of goes off to the side there. Do you notice here in the foreground as well, There's a few bits and pieces, little little droplets of lights and things in here that I tried to indicate with a little brush here like that around the river as well. Let's put in a bit of this yellow, little bit of yellow and a bit of green, a bit of subdued green. Yellow and green. Bit more of a sandy sort of look with the yellowy sort of stuff here, like that. Maybe just dial it down a bit more there. Always remember you don't have to color everything in more green. Let's go ahead and drop some in here like that. Got these houses or wherever they're there, I'm not quite sure what they are, but they're just little bits and pieces in here. We can draw them out and identify them a bit later. But in this first wash, you want to keep things really nice and fluid and just beautifully mixed together. So I tend to keep things as loose as I can to start off with just to get in that lot. That lightness first, brown or something in here as well. Neutral tint. I've got some good. Yeah. I bring that down. We'll look up putting a little bit of lighter color here as well, have gone a bit. But that's okay. Notice everything kind of just mixes together. If you simplify it down. Beautiful. Just something over there. Now, here comes in the water, I'm going to drop in a bit of turquoise color. Turquoise. That's way too vibrant. So I'll just dial it down with a bit of this leftover mix of purple and grays and stuff as well. So dropping that in. I think that this is very important because we want to get some reflections of the buildings and the mainly answered these darker trees. I think it's a really good time and opportunity to be able to do that. But let me just put in some of this again, is turquoise color mixed in, mixed in here. That some of it will just mix and some of it I will just leave with a sharper edge like that. Perhaps let it do its thing. Good. I'm going to go in and drop in a bit more color into the trees, some more of these undersea green, it will be here. Let's just getting some more details with trees and not dark enough. Just yet. We'll get there and notice some sharp edges in some areas as well. Let's identify this a bit better. Notice there's a lot of smoky sort of color here as well, so you can lift off, but I'll probably leave that and do it later down the base. This is something I've forgotten, some more greens, some more greens and some browns as well in this mix. But remember to keep the lights, some of the lighter bits in there, so important. But it's mainly browns and greens down at the bottom here. But because we've left in a bit of this color at the base and it's sort of half drive. We can cut around and leave some little highlighted bits and even some white of the paper like this. Drop that in. You can even use a larger brush if you want to. Make it quicker. Like this. Good. Fantastic. Let's have a look. Let's put in some small indications of trees. I tend to use a bit of brown and a bit of green, especially while the paint is still wet like this and just drop in my impressions of what I think. I want to put in here. Near the bank of the river. Notice. This really dark, really, really dark areas near the river. I can just drop in a bit of this blue. Link me to blue with the green to further doc and some of these areas down. That's not all the same color. Tone all the way through. Some key a bit here. I'm going to drag this color down is like a reflection in the water like this. Just bring that down like that. Let's have a look on this side. Probably get a little bit of a reflection as well. And that just running down the page, kind of cutting through the water like that. Beautiful wet-in-wet work like that. Of course, we can just dark and off some of these stuff here. I've lost that house there, but I may be able to get it in later. Here comes the sky wash. Now, it's what I was saying before we go to take more care around the buildings, I'm gonna pick up some of these cerulean blue. I've also got a little bit of this turquoise see color, um, because the sky, it does actually have almost took away, see gray sort of coloring just depends what you're looking at, which areas looking at. I can just go in something like this. Especially around here. I can perhaps pick up a smaller round brush and detailed data just to cut around. Now there's not really any known as there's no like clouds or anything. But let me change that. Shape this a bit more so that it comes up and be like That comes up a little bit like an onion shaped because it was too round before. Okay. This is about the only time we probably got to pay a bit more attention to what you're doing because the shape really does make a difference when we're trying to indicate well-known landmarks and that kind of thing. One here, one dome like that. Don't worry about it, that stuff if it dries off a little bit and forms of forms a sharp edge, don't worry about it, Just continue on. The more important thing is just cutting around these bits and pieces here. Sometimes I do use a flat brush that can help show you what that looks like. A little flat brush pickup be more that turquoise. They're almost looks like a nighttime nighttime scene, but we're trying to change that up. I just want to really get the stuff in the top of one. I find that when I'm painting with a flat brush, you can get man-made at shapes and buildings a lot easier because with man-made Buildings, you do have more obvious shapes and Patents in the flat brushes are well-suited to that kind of stuff. So that one looks okay, but I probably happier with how the actual central dome looks. Let's put in some more of this bloom try and make sure it's not all too vibrant as well. There's another dermal just put that in there somewhere like that. Mixed that into the sides here. There's a dome of something here. I'll leave that there as well. Notice I've added a little white halo around it as well. The little white halo just helps to I'm just adding a little highlight or something. There we go. Look a couple of minarets here. Just cut around the top of them and shape them. Kinda what I was saying before, if he able to get it inaccurately before then fantastic would've not the end of the world because he's still got a chance to do it here. Indicated sort of work as well. I'm not trying to imply complete accuracy here. You should blend a bit of that downloads. These minarets just needs to really be drawn out. A bit more of a structure to them. Here. Cutting around. This is something too. This is another structure. I don't know what it is, but it's some it's another structure that's right next to it. Is a wall here as well. I think that it will mix in mix and do its own thing. That's it for this, for around them. The buildings. Now we'll pick up my larger brush and start to soften some of these edges. Like I said before, it's quite possible now to just drop in and get in these other areas better. They haven't dried completely. You can just pick it all up. But the most important thing is just to make sure that you've got a decent enough indication of the building's going to soften this area down the back. More member, try to keep it as light as possible near the horizon line. And as we go up, we stopped putting in more paint. This is to turquoise Sea and then I'll drop in some of these other mix of color here to just doublet, doublet a little bit of brown like that. Just dial it down like that. Maybe a bit of white, oops, too much white like that. Just drop that in there. And what I love to do as well is to flip a bit of water into this section and create a bit of a bit of drama in the wash, the sky wash. Because while often what happens is when you doing paintings of complicated scenes like this with lots of stuff going on in the buildings and little details. You often neglect some of those details and watercolors. We don't spend too much time fleshing out all the little details. So what I find helps is if I then go back into it, flicking a bit of water and stuff like that in some areas, maybe add in some clouds or what have you my putting a bit of blue in here just to dirty some parts of it up like that, create a bit of interest and get a bit of a, got a toothbrush, even. Flick a bit of water in here, just change things up a bit. Now I've gone a bit overboard there, but that shift this ceramide water like that. It works a lot better as well once the painting has slightly dry, like just over here, you'll notice if I flipped a bit of water and you'll get a bit more sort of mixing effect and speckled, speckled areas as well. Alternatively, you can pick up a bit of paint with a brush and just flick it in like that. Does the trick of just indicating small details that aren't really there. But they crucial, crucial to add to the overall illusion of detail and depth in here. Got a bit of paint look at that, just mixing it in and spraying it on there quite liberally. Too much paint on my fingers. It's doing something funny to me at the time. I think it is this pain. Who is this? Good? And you'll notice some bits here. Maybe there's a bit of a bit more paint or something like that. You just lift off like that. We can correct it, just put it in a bit of green in there. But a lot of this is just waiting to wait at the moment. So most of the work leave or not, it's mostly work once you've got this layer out of the way, the rest of it, It's a walk in the park. This smoke is bugging me. I went to lift off a bit of paint, grab a tissue. 26. Taj Mahal: Shadows: A tissue or paper towel or something like that. This is a great opportunity to lift off a bit of paint for the DC area here of the smoke and maybe dropping a bit of gouache. Good, a little round brush here and just lift off like that because the paper is still slightly wet here. I used to use a lot of gouache and do this sort of stuff into quite recently where I've realized that it's actually not necessary if you get into it. What I'm doing here early enough can really imply like a soft sort of smoke just by lifting. Okay. But I also do using a bit of other paint drop Buddha, like a lot of paint in there as well. You got to play around with it a bit because some smoke is not always one color. You have some softer smoke and some a bit wider and some that's a little bit more hazy and grayish in color. Just have a play and just give it a try here. Notice there's an impression of smoking there. You've done the right things. So I'm gonna kind of looks right to me. I could leave that. Another thing you want to know and recognize that there are sharp edges in here for the trees and stuff. So you can go ahead and redo some bits and pieces like that or we can wait until later as well. Not a problem. Pick up a bit more paint. It's just drop in some of these in here. It's in pieces. Bits in here, a little bit in the sky. Let's think I'd better, this can just flick a bit here in the sky. Let's just keep things interesting. It looks crazy, but I'm hoping this will just create a little bit of extra interest in there. Because again, with the painting compared to the reference photo, the reference photo has so much detail. I need to change something up in here to make it look a bit different from the reference. Knowing that I will lose some details, lose a little bit of detail in the actual watercolor. I have to make up for that by doing something like this. Lots all wet. You'll find that you don't just sort of blends in and it doesn't make a big difference. But I do lift off some of this color here that's in the actual buildings little bit that's in the buildings so that it's not all over the place. I might think to myself, Hey, we could put in a bit of a bit more color or a little bit of indication of a branch or something like he like little sharp edges. In this section, we can do that to something like this. For example. This is a, Something I do like to do as well, all in one go. If possible. The base of the trees, basically trees is really dark in here as well, super dark. Let's just put it in a bit more paint in here and recognize that draw that out a bit better. Kind of goes up there like that. A bit more darkness in here. There we go. That's the right. That's, that's what I'm looking for. A bit of green and a bit of purple to help to just darken this down a little bit. I'm going to use a bit of a dry brush to darken off this bit of the river here, which is kind of like a reflection as appose of the trees like that. I don't know how perfectly that will work, but we can try it, something like that. I'm just a soft reflection here in the water. Of course, we're going to have a bit of connection down the bottom to a little bit more green here. But it's actually quite a sharp shape here, the base There's not a whole lot we have to do. Just put in a bit of little bit of yellow in here. Because I think what it will do is mixed with the green, the darker green and help to create an edge for this bank. Something like that. Because I do feel that I was missing parts of that bank as well. They're a bit more dry brush on this side there be more dry brush also moving further down like in this area here they might be like shrubs and the stuff that's closer like this, we can just indicate a bit of that. Small shrubs and details. Use sparingly. Sparingly just putting the little bits and pieces of courses are larger when he saw indicate that. But I don't want to do that all over the place. They're fantastic. Started to dry now and you can see like parts of the paper that I'd freak water on. We can still do it here. Start to dry with these interesting little bloom like a fixed like that. The smoke here is still there but soft enough in some areas. So let's just get a paper towel or tissue, something like that. And go ahead and do something, just pick out a bit of paint. Sometimes you might think also there's some ears that had just a bit dark or what kind of stick out and you can drop in, dropping a bit of water or just basically just use the the two paper towel to lift off a bit as well. It often looks better. You sort of get into a bit of mess and stuff in there. They're getting, they're really, the last step of this painting is I want to just put in a bit of detail for the actual buildings here in the background. And I'm going to use a little bit of this neutral tint that I've left off on the page. A little bit of neutral tint. Lets just dry brush on some of the details, then it's probably too light. And pick become a bit of neutral tint, drive off that brush. But also you don't want too much contrast. Just a little, just a little bit like that. Little bit here. You'd be surprised how little, a simple little broken edge at times can indicate the most complex shape or the most complex building. Don't have to do it. Let's have a look in here like this. There's some little lines and stuff running through separations on the minarets like that blue dome there. Be more paint. We go with a separation here. And that's what I mean, that that edge is probably too dark, but I'll stick with it. There. That's another dome. There's another dome here, here. Little line here or there makes the biggest difference. I never used to think, to think that, but often with watercolors, Morris less. Because if you over-identify what's going on, you lose the softness and beauty that comes with watercolors. Of course, you can do everything your way. Everyone's got their own style. But I think for Loose, Loose sort of painting like this, just fleeting. It's in pieces like these really make things interesting. I didn't know if something's going on in here. This is actually a bit more opinion, a bit more tree or something in here that's the smoke doesn't really extend all the way up there. It's kinda comes up from the right-hand side of this. I can just give it a bit more color in there. Like that. Stick. There's still a few other things I wanted to do to finish this off, but I will give it a quick dry off. This was drawing what I what I did was I just got the paintbrush in and started lifting up a bit of paint while I was using the hairdryer just to get in some clouds and stuff here in the background. Experimental thing. But I just wanted to create some tonal variation there in the sky. Now it's just a matter of putting in all the remaining bits and pieces. And I like to pick up a small round brush was small flat brush. You can find one just a little flat brush, round brush. I'm going to allow us to get in the finishing touches, all the bits of darkness. What I'm gonna do a funny enough first as I might actually just go into the foreground. And I want to get in a bit of vibrant, maybe like a vibrant splash and green or something in there. Let me just have a look and see if we can mix. Go ahead and mix a bit of green up, more yellow, yellow, white, and a bit of green here that I pick up that Let's have a little greenish, sort of yellow. I'll dry off the brush and move it. I'm just dropping a little bit like that too. Not light enough. Some more gouache. That just a little bit like that. And I'm already indicating some of these terrain here that will stick out a bit form like this air of the bank. The little highlight. That's a bit much but soft that it's often that off a bit like that here. Most likely the riverbank. Just a little bit of that. That we've missed out on before. Dropping a bit here, here, coming down the front here. The trick is just not to overdo it. So if you start feeling it's getting a bit much, then stop and start working on another area. But here, for example, a little bit of this stuff in here. Quick. Spontaneous drops, color running through link that this thing is in years. Well, I don't know exactly what, what is this, but there are little look in cages, little white spots and dots. This is what the gouache is. Grateful. I just drop in stuff in here and it just looks like there's something that can be a dome or whatever. Again, I'm just using Beta this white. Then I'll mix it with a bit of yellow. There we go. Got a bit of a highlight there. Something maybe going up, something in there. A few bits and pieces on the river bank like that. Let's have a look. Maybe something just Watson and off a bit. Something over on this side, just little bits and pieces. A little house or something here. It's just something on the bank there as well. Just recover a bit of that. Fantastic. Let me just get into a bit more for some speed. Putting a bit of brown, just put a bit of brown and white gouache together. And I'll just type in something here, like a wall here as well, which I'll just get a bit of brown paint. This is just a bit of raw umber, burnt umber here. Great. One thing that I need to do is link this up, these trees and areas to the left and right. This is what I'm doing is painting. Let it mix a bit like that. I want to get in some wave, some little indications of waves and picking up through the gray here on the palette. And this just getting little lines across the water like this that might indicate some reflections on the water and give it a bit more of a water. Like feeling like that. There. Coming down. Again, you're going to have some bits of shrubs and stuff here on that closer so we can just get in a bit, something like that. Yeah, let it dry. Now realized this area here at the front should actually be a touch darker, some more green and dark and this down a touch green in here. It's too much. Again, just put in the grabbing little little paper towel and lift. This layering of textures actually creates interesting shapes and indications at this stuff there, but there's really not sought creative, even more darkness and the edge, the corners here, just a little bit more darkness in the corners and the bottom. Like that. Final finishing touches, I think I'll just drop in just a little bit for the edges, the tops of the the Taj, just a little spires and things like that. You will notice there's actually these little like little sections inside these openings like that. Some parts of the minarets, you see little things like that. And just dropping a couple of indications there. Oops, too much to have a look here. That this is something else, actually, neanderthal. Dropping a few bits and pieces again, indicate some here. You might even want to pick up some really dark colors. I've got some purple and I got some brown that I can mix together and getting the dark has contrast right here underneath where the water meets the trees and whatever you hear like that. That's really dark contrast here. There's sunlight docket trees in here as well. Something here. Good. As it comes across the water. There's some in here as well on the left-hand side. Don't forget to darken off there as well. Create a bit more contrast and interest. Just pretty B again, just purple and a bit of brown to get in. Really, the darkest, dark is color I can get in here. No particular reason why I'm using these to create the biggest contrast. Cut around some of these little houses and buildings on the bank. That here it's like a little softer, just trees basically in the fade off into the distance. But one thing that you will seize, these bits of darkness here, a mirrored in the water. Water is just as dock. In fact, in having a bit of these little reflection award, I believe will really bring it together. Here. Something like that. Not exact but close Here. Bit more running down this side as well for some of these trees and the reflections in the water. Just thinking of the quickest way that I can do it. Reflecting them down, just downwards, really. Fantastic. And we are finished. 27. Ukraine: Loose Landscape: Okay, We're gonna do a loose landscape, and this landscape is going to be quite a simple scene. It's a natural landscapes, so there's a lot of freedom and very little drawing really involves. Here is the horizon line all the way at the back there, just above the middle point. And I'm going to place in some basic, basic shapes. That's a little shrub or something in the background. He's a tree, tree shape down there. In the background we've got some mountains just running up until the hue all the way down there. But interestingly, we have some of these. Once you McCall and these little trees that are reaching up here and I'm going to place them essentially in here to remind myself where to go in with a brush. What I really like about these trees as well as that there's a really nice sort of soft indication of the shadows. I want to have a go and get these in getting some nice softness here in the foreground as well. But just some of these reflected or not reflected, but some of these, these shadows running towards the radical able, quite nice, I hope we can get in nicely were indication of this. So we know the sun is like here, ran about. What you're finding is that as we go out to the trees on the outer edge, the shadow will flare out a little bit more horizontally, whereas you go down here, it just starts becoming more vertical. I think that's about it. I didn't really want to draw anything else in here. I am going to wet the page first, got a nice bit of color here on the paper just like that. Just a bit of water all over the top. Get it, get it almost completely. And we'll pretty much completely wet. Just pick up as much water as you can, drop it onto the surface. And just basically makes sure it all absorbed in nicely. This is going to create a nice little surface for us to start putting in all of the light areas. Basically just start painting everything in. So we'll do all the wet and wet first and then we'll do the wet and dry it and getting some of the trees. And what have you noticed how much water I'm using in here as well. I really want to just get this paper completely saturated so there's no chance of it drawing out halfway. Well, I'm attempting this in the UK. This is all gonna be done, went to wait except for perhaps the n-bit where we're going to do a bit of a combination between wet and wet and wet and dry. Let's go ahead. I think that looks pretty good for now. Firstly, with the sky, I'm gonna go with a really vibrant yellow. Let's pick up some of that and drop that in and look at that. It's just spread about like that. I'm going to grab some of this. Orange is quinacridone, burnt orange and nice, amazing orange color. And I'm dropping that in like this and look at that. It's just spreading in very nicely. Go ahead and if you want to add some more color, just make sure you kind of do it now. As you go up to the top of the scene, what I'd like having his blue, just a tiny bit of cerulean, this dropping a bit here. Funny thing is that it does turn a little greenish in some areas of my mind too much, but just a bit of coolness. If you can pick up a bit of that corners, we're gonna swap brushes. That coolness up the top in some of the areas like this, there we go, better that that he had a bit of that here. Let it just blend in and do its think. I might even just start dropping in a bit more yellow directly beneath like that, I want to create just nice soft transitions running through here. Some of that just need a smoothing it off a bit. There, pick up a bit more orange, that's getting some more orange under here. Notice how all the bottom parts here, which we basically got green and a bit of orange in there as well. Kinda just melts together. So we've got these green kind of orangey colors down the bottom. So just covering that, that the paper is really nice and wet and he just got this quick wash in there. We pretty much done with that initial sort of coloring. The lines are lots of bits of the page. From this point on. All we're doing is that we're just modifying it. We're adding in some small bits and pieces. Like to pick up some smaller brushes as well. A little round brush like this one. I'll go through getting some details all wet into wet details. Another thing I like to do as well is to just flick in some paint, create some textures in here too. So I might just go ahead, for example, pickup this little round brush. Let's get in some dark green or maybe some brown mixed in with that green here. Brownish green. I'm just picking up some of that. I'm going to tap that on this where we got it. Maybe a large brush would be better. Tap it on here. Look at that. We're getting a little bit of little bit of paint in there, just mixing around doing its thing. I have got an externally and a little bit into the sky there, but don't worry about that, we will. And we'll make do with that. One of the things here in the background is just making sure you're getting in some of the colors of the mountains. And what have you use? Some just going to pick up a little bit of bluish paint, just a cooler paint. Let's drop that in there in the background. I don't want it to be too dark. Something like this would be nice. We can just get a nice soft mountainous region here in the back. Okay. I'm kind of scumbling my paintbrush across. As you can see, it's almost like just scribbling with your paintbrush to dig some of that painting to the paper. Move it around in some natural looking shapes here in the background like that. That's a little, little treeline or mountain long here in the back like that. As we move forward, when I'm gonna do is start again, just picking up some more paint, a bit more of concentration of green. This has to be darker, so green mixed with neutral tint. Lets have a go. Let's just dropping a bit here. Here we go and you see it's spreading. Is that as I go down here, here, here just another row of trees in front like that. Nicely row trees. I can also start putting in some little kind of guidelines and areas of land, undulations and things. You can see this kind of line that goes across to the right-hand side. Let's just pick up some more of these. Let's drop in bits and pieces. I could get in these little mounds of grass and things. Growing tufts of grass, just growing in funny areas, just picking up some of these other greenish kind of paint, greenish and brown paint. And look at that. I just dropping in a bit of paint here to get in a little bit of a color and what have you. And of course, we've not really worked yet on these trees. And I think the trees are really important because they help signify or what is going on, the direction of the shadows, all that kind of thing. So we'll need to wait a little bit first though, because if we go in now what's gonna happen is that it's just going to, just going to look a little bit to spread out because the paper is completely wet. What I can do is also dried off a little bit with some the hairdryer. And it will just sort of speed up that process. Here, just dropping a little bit more darkness for some trees or what have you like that I mean, you can even see this darker sort of shrub or something here on that left-hand side. So why not just indicate that a bit more? And who's to say that we can't put one in here as well. So that's this beautiful artistic expression. As I said, you just change things around to how you feel. Fit your, your story that you're trying to tell. Here's a beautiful little bit of paint that I have leftover. And I'm using a fan brush to try to get in some bits of grass and some scumbling kind of a fix here. Remember that the paint that I'm using is pretty thick on here as well. And we're gonna be careful enough not to get rid of all this light when I'm putting in these paint. And also I'm also keeping in mind to not overdo it. Fantastic. I'll give this a little dry and it'll get back to it, but it's not a complete July bit more. Here. Just draw the paper off slightly, going back in and dropping in some bits and pieces. As you can see, this area is dry it off a little bit and so you're getting a little bit more sharpness in this area. Let me go and just a few more tufts of grass and things. Slightly sharp end up in some parts. I'm going to grab myself. A little rigger brush and I'm going to be using this rigger brush to stop putting in the trunks of the trees bit of brown and a bit of neutral tint. Brown and neutral tint. I want to make it pretty dark. And let's just go in round about here. Let's drop that in like that and stops. Maybe here. You might have another one coming in. He getting, getting on a bit of an angle like that. We can just again, just put in some little branches coming up through the sides. And the great thing about doing it now is that you do get a nice kind of melting in effect for these branches. Um, it doesn't look too overworked and it doesn't stick out all too much. There's even other ones that are coming up around here. You can see lot of it's very difficult to see. It's moving around one of these squiggly lines coming up here, that's another part of it. And it's important that you are going fairly dark in this section as well, so that you can get into the details of this tree against the sky, distinguish it a bit more from all the other bits and pieces in here. Here's another one. Let's get into another one here, like that. Just trying to follow the reference slightly. But again, with these tree branches, you don't need to really follow it too much. You can just still putting your own shapes and it will make sense. Another one here, he has started to go up like that and you can see here a little smaller one like that. Good. What I'm gonna do is just give this a little spray spray at the base, especially like that. The reason why is I don't want to put in some shadows, some reflections or shadows basically, picking up the same mix of paint, just going to drop it in and keeping in mind these light sources as well, like this, it's all wet and wet, the shadows as well. So not there's another one maybe coming out like that. Like that. This one here is almost, almost vertical coming down like this. Let's have a look over on that side there, this in the middle, we might have a little tree here just reaching up like this. Great. And again, this one's going to kind of make it come off like this. All the way down. They kind of like little reflected, little reflections, but basically shadows. And this will soften off quite nicely as well. So we just got to give it time to blend in left-hand side and give that a bit of a spray. Were actually a lot closer to the end of the painting that you might think. I'm just going to pick up a bit of this brown and a bit of this green with that bit of the alphabet. And let's just start getting in some of these stuff that just tufts of grass and bits and pieces in here that will just make it make it look a bit more sharp. In some areas. This air in the left, it's has almost started to dry off. But this is where I just sort of play around and Leo, essentially look at that reference to myself. Perhaps I need, you know, perhaps I need a bit more paint over here. Just to get this uses like a shadow coming over to the left as well slightly. And maybe some tufts of some bushes and things like that. We might have one, he, we could have one here. We don't have to have what's exactly in the reference. That's the thing we can change things around. I mean, I'm putting extra beats and year as well like this and seeing what will happen. Maybe a work, maybe it went here. The main thing I'm trying to aim for is just balanced. We've got all this darkness here and I think we could have a bit more darkness here on the left. Well, we got up here is actually a tree up the background at the back. I think I can indicate something there just with this little rigor again. Let's try something like this. There we go. Smaller tree off in the back there like that. Branches and have you there. You can get a few other trees and branches to create a bit of excitement at the back there just a bit. Other branches and things. Good. This right-hand side is just so filled with branches and leaves and things like that. It's really hard to see exactly what is exactly what is going on, but I wanted to just create a bit of commotion in there. Putting this shadow a bit better like this, coming a little bit more to the left. Now, even this one perhaps running like this. Some more. It's in pieces like this. Starts to look a bit stuck on just spray down an error. It will run. You can click that off at the bottom and that will soften off a bit. New drawing. All this was drawing off. I got that brushing and tried to get in a few little tufts of grass and things in here. And another thing you can do is if you've got a I'm a little blade or if you've got a credit card, you can do this sort of thing and then lift off little bits of grass like this, just these white bits and pieces. Sometimes you can't do it but you have to wait and look for areas that are kind of dry. Still slightly just slightly damp, and you're able to add in a few bits and pieces like this. Don't want to overdo it though. Few like that because we can always use some quash as well to get in some little highlights in areas. I'm just going to put in a few bits kind of grass and things running across and make them smaller here in the back, as you can see, the tufts of grass will get smaller and shorter as you move towards the back. You can feather, feather them in more lightly at the back, but at the front. I tend to just give them a bit more volume as well. This might have like some darker ones as well. Some of them. Make sure you just keep them a bit messy in some areas, don't keep them to clean because, you know, with nature it never quite things don't quite grow like that all the time. It's a bit more variety. The way the bits and pieces just come together. Getting there, We're getting there, we're almost done really. These are just some bits of darker tufts of grass and things like that. I'm trying to put in. You can also pick up a bit of gouache, a bit of whitewash here on the side. So I'll just pick up a touch of that that I have leftover from a previous painting. It's not understand why it actually, it's kind of grayish. Some other paint mixed in it. And there we go, just some little white bits. One not just to add in as well. Some areas where you might have kind of the sun catching onto some bits as well. It makes a bit of yellow into that gouache to make it an opaque yellow. That case, we get some bits, lots of bits just running through. We'll go over some of that white. I think that was probably too much before. Stick here. Fantastic. Finished. 28. Venice: Light: We're going to paint this scene of Venice. And one of the things I always like to do first is separate the land from water. Or if we have a horizon line or just an area below the buildings. I always like to put that bidding first. So in this case, I'm going to go really at the waterline here where the water stops in the buildings start and actually goes under under the bridge as well. Estimating it to be roughly about this high. Again, just depends how much more do you want to get in at the bottom, I'm just going to leave little slither there. It's not even a quarter of the way up the page. Probably a bit less than a quarter. So let's go ahead. I'm going to just draw this across and use the arm to do the work here, drawing the lodge lines, longer lines. I tend to just move in Thai harm rather than any of my fingers actually getting any of the details. Now this bridge is really crucial and I'm going to just try to get in an indication of this to start off roughly here, maybe finishing here, like that and the water continues on actually through the back. Let me just getting a bit of the indication of the actual bridge. But what I think what I'll do afterwards, it goes straight to the buildings, but I just want to place the general location of the bridge first. The easiest thing would probably be to go right to the top, the bridge where it kind of starts off like this and do two bits that kind of curved down, one like that. I mean, it's getting that bottom part here. One like this here. Come down just like kind of 3123 and then go to becoming across down like that. And then this one also a bit down like that. Increased heart of that a little bit. And we'll just let that kind of good down here. Like that. There we go. We've got a bit of a bridge here and it actually starts off a little bit further down like that. Inhibit a good indication to begin with. I'm going to start putting in the buildings is no sort of yellowy building here on the right-hand side. And you can see it starts just below the midpoint. In fact, the roof starts around the midpoint so we can get in roughly the roof like this here. Let me just get in this top part of the roof like that. I'm coming in, then it kind of starts actually a little bit further probably out to here, bringing that roof all the way towards the edge of the page. So we have the root positioned nicely. Let's bring this down. Just a vertical line like this. You've got some windows and you can start actually placing some of these in. I'm not going to count exactly how much they hour or bother too much with all the little details, just placement of them, I think is important. So there's three floors of this building and you've got the second floor, which has some of these lucky red, orangey colored windows in here. As you can see, there's some drapes are some curtains or something inside. So this is quite important to imply. So I'm going to go ahead and get in. There's a little bit of this going on in here. Important for later when we go in with the paint and know how to and with a floors are and know where to get into that red. This is the ground floor. And you can see beautiful shade. They're not going to think that there are some, what pillars, which ankle just like this and there's an umbrella here as well. It looks like a kind of area here where maybe like a little restaurant next to the water, something like that. Just indicate roughly where it is. And then those little pillars here in the background as well, a bit of shadow coming over to that right-hand side. But we'll have to figure this out as we go. You know that there are figures in here to getting some of them a bit later. Let's go ahead. Now I'm going to get into this building here. There's a white building just behind an online. You can be able to get in a slight angle. This side of that white building like that comes up like about here. And it's not a huge deal if it's not exact, exactly in the same spot. In fact, I want to change these buildings to make them a bit slightly bigger. Actually. There's one that's that building in the back. We're just going to have to remember the color of the rooftop and everything like that. Some kind of construction going on here. But what I'm gonna do is. Try to ignore that. And getting another there's like another orangey type roof running towards the right here. There is some kind of building going up into the sky here as well. So you can see like the side of it like this. Better, that side of the building, they're coming down like that. Sought of that building going like that. It doesn't have to be too detailed, just a bit like that. Now you've noticed there's also some type of Tiao Guo behind this in rooftop. I'm gonna get that in this little window here as well. And you can just indicate little bits of the tower like that. Okay, Let's go in and start working around this mid-section a bid. And we know that there's a couple of these little boat houses or storage areas here or something. I'm not sure what they are, but they're pretty dark. These little little errors in this, i'll, I'll just try to indicate where they are. Let's have a look here. There is another building coming out through the back. And it runs almost around the halfway, halfway part of the page, just slightly more than half to something like here. Connect that up like this. I'm going to draw a line just coming down. This is interesting as well because you can see slightly Assad of the building like that. So I can get in the spit and then we can get an another bit like these. Like that. Good, Good. Another window here on the building will notice there's also some other buildings running through so we can get in the rooftop of a little building like that. Let's bring that down here. There's of course a few other overlapping buildings and structures running through this area like that. It's hard to see exactly. And that's why that's why I keep this bit a bit, a bit more loose because I want this more and more sort of drawing on to everything rather than stick out as individual buildings all over the place because I wanna indicates some individual buildings, but at the same time, I want to make sure that comes together as one large shape. That's more important. Here we go, another building coming down like this. In fact, I've done this little area too far to the left so I can just place that around here. And again, look, I mean, if it's not exactly the location, not a big, big deal as well, you can just change it around them. Notice even on this bridge there's like little poll is going up and they just connect on like that. A lot of this is going to be negative painting where I can cut around this bridge bit later. But for now, leave it like this. Always conscious about how much pencil work I'm adding in and making sure that I'm not overdoing it. Because at the end of the day this is a painting. However, the planning of the drawing is important if we don't have a good enough drawing in here. When I say good enough amino, accurate enough drawing to help guide you that even with the loose painting, you really need a good plan with your drawing. So I tend to spend just enough time to make sure that I've got enough detail in here, but not so much time that I'm overthinking things and leaving too many pencil marks on the page. They'll get in the way of my actual painting. We are almost done. Let me just getting the rooftop of this area here on the right-hand side, we've got some chimneys, if literal chimneys here. There's even another building here in the background. We can bring that down as well. Like that. There's another building here. Things get quite loose here in the background and it's difficult to see exactly what is there. And so you just got to, at some point loosen up a bit. There's a tower here right in the center. I like these. So keep that triangular shape up the top like this. It's getting this other side like that. Good. And of course we have a few other things that we can place in here. The rooftop of this orangey building that's in the light may also exaggerate. Some of the shadow is running and heating the right side of these buildings here as well. Can't see them too well on these buildings, you can't see a couple here, but the light source coming from the left. And I want to exaggerate that because there's quite a few light areas in here. We just need to get these dark shadows in, preferably in one go that we're not taking too much time away and go down. Let's have a look. Let's see, this is some kind of rooftop as well that just comes down like this here. And this is the edge of this building here, which is actually starting in the right place on the left side of the bridge, slightly left to the center of the bridge like this, bringing this up. Whereas this, we want to get this building to end, perhaps around the height of this building here. Often I judge, gauge exactly where to put buildings based on where other buildings are, assuming that you've got the height of those buildings in more or less, correct? We don't want to make the building so big that they go out of the scene, especially with these big tau. Here's what I've always found. It pays to just leave a bit of space at the top and give it some breathing room. It's something that took me a little while to figure out. But if you draw the buildings, are you making buildings to close the towels, especially too close to the top of the page, it just looks quite unbalanced. So that's a thing to keep in mind. It's called cross this. Sometimes when you see all these shapes, it can be quite intimidating because so much going on focused on the big buildings first. So this one here, this little orange building, quite a large booting, but it's just a square, just a rectangle bit of the side of this building as well like that, which I can shift downwards here, emphasizing a bit more of that right-hand side of the building. It doesn't look like that in the reference, but I'm giving it a bit more dimensionality. Hopefully that will help it to pop out more. This, this is the rooftop here. This is a kind of house like when you call it like a pentagonal shape on top like that. There are some windows and bits here up the top as well. We can getting the sum bit of watercolor, bit of a cooler watercolor later. Let's go in here and pop top part of the building like that. They're kind of connects on there. This then turns into a kind of triangular shape here, as you can see, which then connects on down here, sort of a circular thing there, which has an inner portion as well like this. Fantastic. We're going to go ahead and welcome this one now, since we were already in that area, that rooftop like that, come down, there's a beautiful area here as well. Let's just join this up with this rooftop. And an another kind of pentagonal shape here like this, similar to this one like that. Let's go to a heavier, thicker sort of top on it like that little door here, some kind of like hatch looks like an addict or something like that. Something leading to the roof. Interesting little bits sticking off the roof, iPad, arrows, antennas. They also helped to connect the sky with the rest of the scene. We're getting very close to finishing off the sketch. Now this other, there's a little house here in a little house, but little top of the building. I mean, interesting how I'm gonna get this in something like this. Perhaps they're just bring this across like this, like that. Let me go to the top section there. That's a bit of the top. Now, we can start getting in the tower here. Off like that. Looks like it just goes directly up. Section of the tower. Comes all the way up, kind of like around here. Let's just try that. Sometimes if you don't have enough room up the truck, just shorten the tower or change the proportions slightly. It's more important that the proportions are right rather than it being the same, exactly the same sizes in the reference. Because it will be obvious if it will just look too out of place. If there's not enough space for the tower. There's a couple of little openings in the center of the tower. If you can see here. I think this is a bell tower of some sort. Node bell tower to really tell. But often these taus up were originally purposed for that. We're getting very close to finishing off this drawing. Let's put the top of the tower rain, which is egg in these kind of rectangular section like that. It gets narrower through the top as well. Then of course you've got this little roof top section, top of the tower like this. Perhaps a little, little ornamental things at the top. All right, just having a look at that to see. See how I've done. It looks okay. It looks okay. Certainly. I probably could have gone a bit more detailed with a towel, but it is in it is in anyhow got a good indication of what's in there. The sides of the buildings is as good. Also start putting in some little windows and stuff. And the windows as you move towards the background, you'll notice they get smaller, closer and closer together. Whereas these ones here, they demand a bit more attention in terms of the placement of them. And don't overdo the amount of detail in them as well. Okay, wait until you've got the watercolors and figure it out then. That's kind of like, I don't know, like a boat area for storage or something like that. I'm not exactly sure. Look, this is like a building maybe cutting in front of it. We're building here in the background. That taught how to really see exactly what's going on in there. Fantastic. Now, let's put in bottom like this. And some of the bits and pieces on this building to the left. Just wanted to outline these windows a bit more in case they disappear. Sometimes I can start off with drawing a lot, lot more cautious and then once I get into it, get the confidence to go in darker. Once you know that the placement of all these shapes are roughly where they need to be. Sides of the buildings as well. These little windows and stuff sticking out the side of the buildings like that. So important to put some of those in there. Now let's get in section here. Shade here, like that, and a balcony kind of thing like this. Here. The Windows of course, let's get a few windows. He's one to just estimating roughly where they are not too fast about the detail of them just yet. Oops, here's 11 underneath as well. That's more complicated. This one here on the side edge coming off the scene, same with that one. You've got larger door or opening here at the base like this little opening or something there, another one here. Lot of lot of windows and doors on these buildings. Have a look how we are doing. We are getting there. The last thing I want to do is probably just draw the bridge out a little bit more. Obviously that I remembered that cut around it mostly. Again, this comes with the confidence of knowing that the buildings are in the position that I want them to be in. So now I can go dark and off this area a little. Literally like this. Of course, Moodle umbrella thing. I was here as well. Which we can add in. Thinking what do I might do is perhaps look at getting in some small boats or something here as well. I'm just making these up. I don't have a reference photo of any boats or anything like that currently, but just an indication of some kind of boat or something here. You can even get an indication of maybe like a gondola. Here. Gondolas all have this sort of shape from the side. So there's not too much detail that you have to include for these. Sometimes they are on a bit of an angle as well like this bit of water and stuff here. Dark, darkness underneath these kind of bridge area. Maybe you go to another but somewhere around here that's facing towards the front a bit that I don't want to I don't want to obscure this area too much, so I'm just being careful. Sometimes what you can do, you might want to tell a bit of his stories. So for example, I could think, hey, let's put a boat coming through this breach like that. Underneath the breach. We could have like a figure or something here standing in the boat, maybe a couple of people in the boat like this as well. Seen from the front. This guy might have like a Like an or, or something here until the water. And then you've got a couple of people in the boat. So little things like this can help to tell a story of what's going on. And it's something you can add in here a little bit of special detail that may not be included in the original reference. But you can make it truly your own. By doing something like that. I think we I think we almost done here. Probably the only thing I might want to add in is again, just a few figures, perhaps just on the breach. Indications of some figures walking along the bridge. Like this. It's not easy to determine exactly their posture or anything like that, but simplifying things down is just going to help. I was in the middle of drawing one there there, there's a person walking, might have a person going towards the right-hand side like this or just standing around like that. We don't have another one here, perhaps near the boats. Maybe these two were just talking. Okay. The figures add so much life to the scene. So don't forget to add in a few of these in here. And if you forget to put some in after, you didn't get the pencil in, we can always add them in after. But that does the trick for the drawing. First step, I'm going to go in with some paint. And I always liked to get the warm and light colors first super-important because we struggled to get them in after over the top of the darkness of the water. And we don't want it to mix the blue to create any funny green colors in here. I always like to use get them the warm first. I'm just using a little little brushes, basically a number 0 watercolor mop brush. And I'm going to pick the color of this building here to the right. So I'm just like I'm just looks like a yellowy green color. I'm going to mix I'm going to mix up a bit a yellow. Actually, I'll put it in a bit of white in there, just a little bit of yellow and white. I don't want to feel like I don't really want too much of a green color in there or anything like that. So I'm just going to go with more of a yellowy he was a bit of yellow ocher in there like that. And one thing to also keep in mind is that when you're using such a light kind of paint like this and naturally light paint, you will find that it's so hard to actually go dark in it. So you can go a bit less conservative in terms of your brushstrokes. Just have a bit of freedom and play around a bit. I think also what's good to do is I've not done it for these ones. We can pick up a bit of blue or something like cool color and drop the mean for the windows. These ones at the bottom, I've just forgotten, but they're kind of like an orangey red color. I'm going to go ahead and redo that. We didn't have beautiful orangey red, warm sort of color in here and these ones. And if we get a bit of blending and what have you in here, that's actually a good thing. We don't want everything to be old, boring in the same color. Won't like that. The window is up the top though you can certainly tell that they have a bit of a bluish or cooler color through this. This is just some a little cooler color. I'm just dialing it down with some neutral tint. Leave a bit of that white for the edges. Hard to see, but there's little bits of white around the edges of the windows. And funny enough, it will make quite a bit of a difference later on. Just pick out a bit more of this yellow and let's drop some in here around the figures that all this area is going to be pretty dark anyway laid out, but it's gonna be contrasted with some of the lights in the background. So you go to plan ahead and just getting the light colors first. A bit like here, here, cut around the figures. Again. It really helps. Small here. Sometimes it starts looking a bit too vibrant. And that's when I try to lay off, lay off the coloring a little bit and try to pick up some little bit of white. This is a bit of little bit of white, buff titanium that I have with this. Just dial down some areas a bit more and get rid of some of that vibrancy. Remember, the vibrancy will fade off as well. So don't worry, if you have made it. If it does look a bit vibrant now, true vibrant, it will fade off into a more subdued color as we go. Same thing goes with the window frames. If you don't, if you're not able to get them all in for whatever reason. Always remember that there is an option afterwards to going with some gouache. You're going to look just a bit of that cutting around. I do find that if you get the windows in without the gouache, they tend to look better. I don't know why, but they just tend to flow better. Look more natural. Temptation for me is always to hold back and color and all those windows and all the little white bits. Getting some of this stuff here on the rooftop, rooftop at this section here as well. I can just start putting in a little bit of paint, little bit of darkness in here. Just to get in and little edge. But I'm not gonna do any more than that for the time being, just a little bit of little bit of darkness in there like that. The rooftop, I'm going to pick up some burnt sienna, dropping some burnt sienna for the roof here. This would just blend in. We need to mix that you actually with a bit of orange, burnt sienna orange. Give it a touch more vibrancy like that. That side of the building is really watch as well. So careful to leave that in. The top of this building is almost the same kind of color like that. Burnt sienna or is always the color I tend to use for the rooftops of these Italian buildings, with bits of, bits of red and bits of orange mixed in to increase the saturation. At times. In Florence, older buildings of the popular City area have this same column mixing it and so grown accustomed to just mixing up, learning how to mix the same same color. Let's get in this top bit here. I'm painting a bit slow and I don't want to go too slow. Because while you can get in more detail, you can also lose a kind of freshness to everything. So I just want to speed this up. Little start putting in the rooftop of this one here. Always tricky because you're having to offset balance between speed and accuracy. Because at times there's an inverse relationship between the two. You'd go very quickly, you're going to lose accuracy. And if you try to get everything in very accurately, then you're going to lose speed and at times, freshness that comes with that. So something to keep in mind. I'll leave this bit whites and here, come back to it later and put in some of these scaffolding or not or not, we could just pretend that there is no scaffolding in there and just dropping a bit of color. I think that scaffolding and she doesn't look so good. Gonna continue on, let's go ahead and get some more colors in some yellow and a bit of nape and a bit of buff titanium. All these buildings here, I'm just going to drop in color like this to the sides of them. But try to retain a good amount of light by, by basically just stem going light into this area. Even if it's the same color. Often you'll find that buildings tend to get larger as you go back into the distance to, Let's drop in a bit of this burnt sienna here. The rooftop. There you go. That's another roof here. Another roof here in the distance like this. Bit of buff titanium into this section, just connect things up nicely like that. Bit here for these buildings must have a bit of the sandstone, any kind of look to them. It's put in a bit of orange color here for these booting. The warmer color to match. Dropping that. One of the things is, you know, at the moment is we've not really worrying about the details and the dark bits. We just want to get in a light wash over everything. There we go. This is the bridge course. We need to pay more attention here, just soften off here. It's kind of More lighter and off white color near the edges. And then through the center It's just more of a brighter white. And I'll leave that, leave that for now. Let's get in the buildings here on the left. Yellow and a bit of little bit of buff, titanium and yellow. This is yellow ocher actually. Let's go inside of the building like this, connected all up for the time being. Okay, just connect that all out nicely. This building here to the left, It's also quite like a red, very strong red, bright warm red color. So I'm trying to just mix up something that's really warm, something like that. Perhaps here you can even get some of it in here. While you, while you got this. You've got that Paint 3D. If you see any in the rooftop, you can drop that in as well. There's a bit a bit of warmth there that's required. The windows are pretty dark, can pick up a bit of darker paint and drop it in here first. Now, normally I will leave this to a bit later, but checking a bit of a shortcut here, just dropping in some darker paint. And of course you can go lighter and just wait and do the dark bits later as well. But this is just something quick that I want to just want to put in here quickly. Shade of these areas. Well, that's pretty important. Darkness in that window and that doorway. There. You get beats up the top here as well. Bits in the building like this, I can just drop some little indications of darkness in their burnt sienna in this rooftop. Some previous painting there. It's important not to go too dark like that. Pick up some more of that buff titanium lets drop. Summing up the top here. This tower. Again, buff titanium, just a light wash of that. Buff titanium there. I don't want to make it completely white. Ring this color downwards, like that. The top of it is actually kind of a lavender light colors. We're not just dropping a bit of that in there for good measure. That strong, but doesn't matter. We'll make do sky that seam through there as well. Let's go ahead and start working on the building. And again, I'm just going to pick up that same reddish color that I had before, red and orange color. It's kind of like a vermilion color cut around some of these windows like this. Here. Getting some of this bottom part of the building first. Notice how I'm just trying to get everything to blend and melt together nicely so you see how quickly I can do this as well. Just as few brushstrokes as I can. Actually, I think that's going to just speed this up for one and create a nice, nice sort of loose feeling. In these buildings. We've got so much warmth in the buildings. And often, when that happens, you have to make sure you balance it out with some cool colors and that's what the water is for. Fortunately enough, in this composition, a lot has already been worked out for us. And often our work on compositions, on photos that already have a good enough composition in my eyes. So I don't need to do too many changes later. In fact. 29. Venice: Shadows: A reference picture is a skill in itself. To do. Good. I'm going to go ahead and just start putting in some of this water now. Turquoise color. So I'm going to mix up a bit of a bit of this blue with a tiny bit of maybe the yellow, ultramarine, ultramarine blue with a bit of yellow. Also some of this, sorry, cerulean blue, ultramarine blue, ultramarine blue with a team and a yellow in there. That's what I'm using. And the water is pretty dark. I mean, you can see it actually cut around these boats, indications of boats like that. But look how quickly I'm just going through and doing this. I've got a larger mop brush, this one's slightly larger. I think this would be better suited. Blue, ultramarine plus some of these. Yes, it's ultramarine. Bit of cerulean blue and a teeny bit of yellow in here. You will notice as well, the water gets a bit darker down the front. But for the time being, I just really want to make sure that I've got enough dark water in here, especially here at the back of the scene. You'll notice there is actually extra darkness under the breach. It's hard to see. We've got this boat here as well, which is very important to tell the story of the scene. So I'm just being more careful around this area to cut around the boat. Can always darken that later by touch, but I can't I can't necessarily get the details of that boat in if I go over it completely. So I've probably lost a little detail of it already, but no problem. Let's go through here that's put in water underneath here like that. Again, just cutting around some of those boats like that. You can see getting a bit more blue and a bit more ultramarine. That in a bit of this, ultramarine, more ultramarine and the front. Notice how I leave some white, little bits of white in the water as well. This is so important. It helps to indicate some waves and bits and pieces in here, even some soft, wet and wet areas, they really help this drink bring this across like that. And if we don't get in, we don't manage to get in enough of the white. Remember that there's always an option afterwards to certainly getting some gouache. But here's another trick, pick up a bit of dark paint. I've got some neutral tint. And then a little bit of this blue and just drop in some little waves like this. It does help if you're using a smaller brush to, so I'm just going to pick up a smaller brush, ultramarine beauty of this neutral tint. And we can get in some like wavelike bits and pieces here I can just mingling and going through this section along with the white bits in years. Well, actually notice here on the background that they ground is kind of got this brownish section at the top, at the back here. So I'm gonna I'm gonna just put in a bit of that brown in there. At the moment, I'm just looking at colors. I'm not really looking at the exact detail, the structure, everything more just the colors. Tone I think is very important for this aspect. Underneath this bridge, there's just this doc, the dark sort of section like that. So that's why I'm just putting a bit of that in there. Let's go back to the blue, the ultramarine blue again. And it's getting some darker bits of waves and stuff here. You've got this boat here, of course. And we can get in some details already. That can be the or, or something like that. A person just rowing the boat, bringing the boat out. The open water. Here we go. Just some more waves and things that by this time the paint would have already dried on the left-hand side. Quite a bit. So you're going to find them quite difficult to get in much detail in here, much soft detail. I mean, we'll go with that for some reason this right-hand side has just mixed too much in the left-hand side isn't mixed nearly as much as I would want it to, but that's something that you have to deal with. Watercolors. It doesn't do what you want it to do all the time. Just a separate set it and move on and get the job done. Let's put in some bit of this sandstone kind of color. I think actually we should be okay. I mean, I can just get in a bit of it here. Some of these polls and things, they're just putting some lights of paint there. The bridge bridges pretty white in there, but I'll bring it out later. We'll bring out the rest of the details later. Some of these boats as well, I think would be good if I were to just drop in some indications of detail like that, maybe a bit of give you a bit of orange and this one here, for example, something in there. I think I had boats and here too just some little gondolas which I've now, I've lost in this, in this mess over this side. So I can just do something like this. Very, very light indication and almost can't tell. Good. Now let's go into the sky. We're almost forgotten about the sky, but it's just so important because we're going to need to connect the sky up bit of cerulean blue. As you can see. Let's just drop that in and we can use this to cut around all the buildings and make the blue a little bit. Basically just make that the tone of the sky little bit darker than the actual buildings themselves. And as you can see, what that does is helps to bring them forward. Bits kind of funny because it's the roof hoops. We're just getting a little white edge to the top of that tower. In some spots, maybe, maybe more on the left-hand side, actually, that makes better sense. But I just wanted to create a bit more darkness on top because there's already some blue in there. Just nice, beautiful cerulean. For some reason this ruling isn't very, very grainy and dries extremely quick. I can pick up a larger mop brush to speed up this. Shouldn't have done that. That's some green. Let me just draw this off. Sometimes you do make little mistakes like this and if the water is still wet, look at that. You can just pick it up. That crisis going in. Just getting this guy quickly. Using a larger brush for some of these areas to speed up the process. No, I forgotten that there was a little tau here or something. Let's just cut around. That tower is cut around this top of the building. They're there. They're quite a dramatic looking sky. Actually, I'm using this larger brush and I'm going into it with a fair bit of abandonment, actually. But just enough self-control to cut around these buildings. We need, we need to be careful with that. We're not obliterating all the detail of the buildings. I swapped to a smaller brush, smaller round brush. Now I asked for smaller mop brush. And here what I can do is just use the smaller brush to cut around the details of these buildings a little bit more effectively, leaves some of these bits and pieces hanging off the top of the roofs of some of the buildings as well. You can leave some of them white pot here. I'm just going to go pass a bit darker into that side of the building like this. Good. Let's move this down like that. There we go. As I said with this, with this cerulean blue dry so quickly and it dries in such a dramatic way with all this granulation. That in a way it kind of mimics the water, the style of the water. It doesn't look too neat. I quite like that. Like that. Not all cerulean is do this. You need to have a look at whether it is granulating cerulean, which is traditionally what cerulean blue is. It's a granulating, lighter blue, greenish blue color. We are done with the main aspects of the scene. The remaining portions, just putting in basically the The windows, the figures, of course, the shadows which are gonna be so crucial. Gonna be so crucial. So I'm just having a few edit and it's actually drawing off. Normally spend a bit of time. Normally spend a bit more time letting it dry off, but it has dried up quite well. So I don't think I'll need to really do much for the hairdryer out or anything like that. I'm looking at some of the big shadows on this area. There are enough. Certainly I want to start with the shadow on this building. I'm going to mix up myself basically a bit of brown and a bit of ultramarine, brown and ultramarine. And this is going to make me a kind of grayish color depending on how much the proportion of blue and brown that you put in there. I'm trying to go for a more cooler gray color. Let's try that out. That's fairly dark. But we're on the right track. We're almost on the right track there. I'm just seeing I can just lighten that a touch a little bit. That's perfect. Something like this. You May look too dark at the moment, but once it dries, it's gonna be fine. There we go. Just a bit like this. Notice is a kind of tree shadow or something running through here. It's so subtle. There's some kind of shutter running through the edge of that building. And I'm going to just try my best to indicate that. Here's where you do. The magic really is just the cutting around of shapes. Sometimes it gets a bit tricky and you can pull out a smaller. That's why I'm holding three brushes in one hand. I can pull out a smaller round brush. Getting the edge of this side of the building like this, hold the brush closer down to the tip as well. And that will allow you to detail and getting more accurate lines in some areas that's really necessary. That's good. I like I like that shadow, how that's turned out. On that right-hand side. I'm going to replicate that on this side of the building here. On my need a smaller brush to get in the degree of sharpness in here. Like this. Sometimes you only got one goal at this, so we just don't overthink it and just drop in that color. There we go. We've got the side of that building. And let's get in a little bit of dry brush to indicate some of the details on the buildings. You will notice here. Well, this isn't specifically dry brush, but this little bit of shadow underneath that part of the building at the top there like that. You might have a bit of shadow running towards the right-hand side of this part of the rooftop. Bit of shadow underneath some of these areas of the roof as well like this. Let's have a look. We got some windows in here. Just a little splotch of color and some indications of this hand railings sort of area like that. Uhv picked up something funny here. Just too much of that Brown. Didn't mean to do that. Let me continue on. A bit of darkness on the right-hand side of this tower that I want to indicate. Funny enough with just dropped in this weird splotch of brown in there, accidentally picked it up. But working with your mistakes is something that took me forever to learn and it wasn't specific technical skill. I think it was more of a mental thing. To just understand that. Watercolor paintings, you often find that it does what it wants to at times and you have to work with it. You have to accept the so-called mistake and work with it. When I say work with it, I mean, you turn it into something. You leave it and go over the top of it. Perhaps again with the stronger wash. But it's not always about covering up the mistakes because the spontaneity at times and the freshness of the wash depends. Really, really encourages you to make mistakes at times. Just continue on just almost as if you're carefree and if it works, it works. If it doesn't, it doesn't, but we won't call it until we finish the painting. Will have to go right to the end. What I'm doing with the brush and getting these little details you noticed I'm sort of feeling around in the pallet and then I'm drying the brush off on a bit of tau. Mixing up a little bit of a color here, a dark colored are getting small little details, darker details on the buildings. Like this. You can see the little windows, that little bits of color, but I'm drawing it off so that it doesn't produce too much. Just too much of a dark splotch of paint that takes a long time to dry and that's why I'm just taking a bit more time to mix things up. This shadow here on the right side of the building. I'm trying my best to combine in a bit to the left side of the building as well, funny enough. You might think, but it has to join on with abilities. Underside of the roof, these tiny little bits of shadow that run underneath the roof like that. Or even a bit of this. Broken edges are your friend when you're painting loose watercolors. Because we essentially want to indicate what is going on at times and we want to make it appear more natural and in a short amount of time. And the only way to do that is to indicate indicate what's going on in their broken edges and broken lines like these, I've found to be incredibly effective and efficient to paint in watercolors. Going. This again, these are just the windows that we had before. We had a bit of darkness in there at the first wash, but I'm going to darken them down further at time and look at some darkness, extra darkness underneath here. Because that could be some lots and what have you hitting the top of that shade, then you might have a bit of shadow running towards that right-hand side, running across the window or something like that. Let it let it do its thing. Don't worry too much about everything being neat and tidy. Drop it in and just see what happens. Shrub it and see what happens. And you even hear there's some kind of dark shadow. If you see it's coming in from that left-hand side. I didn't even know what it is. I think it's some kind of rooftop. We can just get into a bit of that little bit of that rooftop like that color that in there. We're done. Don't over work it don't overthink it as well. Shadows come in all shapes and forms. You don't even know what that shape is outside the building to the left-hand side. So I think it doesn't matter all that much. It's getting this rooftop. And of course there is a kind of shadow underneath here, mu shadow underneath that rooftop. There's put that in their course on the buildings. You can get these little, perhaps a little edges and lines and stuff in the buildings indicate the rooftop. But kind of thinking, how are we going to do that? We can pick up a beautiful little lots of paint and we can do something like this, just feathering a few little downward strokes in this section like that. That we indicate a bit of the texture on the roof, the tiles and stuff like that. And of course I've not forgotten to put in the little shadow here on that right side of this section, just a bit of shadow running towards the right like that. It looks like something bit of a shadow doesn't have. The shadow might need a slight dark and dark and down as well like that. This shadow as well probably be more darkness in there. You start to notice these things as you continue continue on as bits and pieces do start to dry, dock a bits of paint that you add in, they really make the rest of the painting just start to pop out. So use it sparingly, of course, but don't be afraid to use it when you need to. Because that's, that's gonna bring together everything else in your, in your painting. If you don't, getting those final really dark colors. Light source is going to be at times quite a not very apparent. I'm going to get a lube. You see these little kind of pose is something that I'm drawing painting here at the bottom. They're not really there in the scene, but I just thought I'd, I carry some of these down. And the reason why is to create a sense of continuity, a connection between the buildings and the water. Because I feel there's something missing in there that I need to put in. Good. These boats and stuff are very, very loosely done. You can almost not tell that their boats can help to ground them by putting a bit of darkness directly under the boats like this little bit of darkness there and some little waves coming across like that occur downwards on the water. I wouldn't rely too much on that though. Fairly loose and I can't see exactly what's in here, but you can just about make out of boat in this section if there's too much water and you're struggling to imply the detail in there. You can always just wait and it dry and then come back to it later. Don't feel like you have to kind of get it all done at once. Let's have a look at this bridge and some of this stuff here. I'm going to put in a bit of blue and a bit of brown would be to blue and brown for this building here like that. And really a dark color, really quite dark. Just going to go straight in like that. And you can see that's kind of like the the top of the roof. And then you've got the sad side of the building like that. Behind. You've got a little bit of darkness here. Ellipse. No good. I just got to redo that now so that the roof looks a bit more like a roof. Here. The main thing is just to keep a lot of darkness in this little section and leave a bit of light for potential, potential lamb figures walking around in here. Something in there. There's a bit of darkness on this tower here in the background. A little bit of darkness here, like that. Beauty of this stuff here. Now, what I wanted to do was something that I thought it was not really done. I guess not implied so much in the original references is the sense of shadows maybe like being cost across into the, onto the buildings of the right. It's a bit of a risk because I don't know exactly how it's gonna turn out. However, I think if we give it a go, we keep things nice and loose. I think it will actually turn out better than the reference. So let's go ahead. I'm mixing up just the same brown and ultramarine blue mix. Let's go in and let's try to get in some kind of shadow here on the buildings. Yeah. I'm just going to maybe get more skinnier in the background like that. That can see some of them like this. This shadow here in the back. I think it might be too little, bit too much, so I'll just lift off for the tissue. It's really a lifesaver. It really lifesaver at times. This aim there just to create a bit of softness in the soft kind of shadow running across some of these buildings but preserve the lights on them as well. So important if we don't have the lights on the buildings, they're not going to look like well, I'm not going to look like there are shadows in the first-place. Going to bring this across this sort of what you call it this top section of the buildings. They're also here. There's a bit of darkness underneath the buildings. Just some shade Reardon near the figures here on the ground. I can go ahead and just color downwards like that. This shadow here comes on an angle. There is not, It's very subtle, but it does have a shadow kind of cutting across like that. Good. The way through. You'll notice, I'm trying not to touch this bridge too much. Welcome back to the bridge and the figures and stuff like that later. But main thing I want to do is just focus on these these other bits and pieces. I'm getting a little bit of blue for this boat here. Just a tiny bit of basically just a cool color running through there. It may not be able to tell that boats there at the end of the day, but we'll see later more colors here, a bit of darkness in the windows there that I've realized they're not dark enough. Some of them, so let's reconfigure those in. What I was telling you before with getting in some parts of these buildings, if you pick up a smaller round brush, misplaced mine, but it's somewhere. You can pick up the Buddha dark paint, dry off that paint, and just go back into the buildings. We can just start like that. It's slightly too dark, but it will be a k. Like this. Some broken edges underneath the windows as well, look some little shadows. That and just giving a bit more definition to what is going on there in the windows. Actually. You can see it's a little bit of shadow running towards the left. Just one stroke like that. You'll be amazed at what a difference. It can make. Your painting a little bit of tidy upward as well. Say you got a detail every single window, but some of these ones closer to you, closer to us, it does make a difference. At the same time, I don't want to overdo it and have a lot of detail in there. Because I wanted to match to the left-hand side as well. This tower here in the distance needs a bit of dry work. Dry brush work in there. Bit more, a bit more dry brush work for the buildings here in the background there we've got some buildings and bits and pieces here as well. And of course, what else do we have in maybe like, oops, I didn't want that bit of that brown that I put in there accidentally before. We'll have to fix that up somehow later. On the top of the buildings you sometimes get these little antennas and arrows and stuff as well. So this helps to just create a bit more interest on the rooftops. Um, and of course, we have this situation of the situation of the tiles on the roof. And I did use the smaller round brush before, but you can also use the little rigor like this to accomplish the same thing. To just put in the the kind of towels on top of this rude. But sometimes if they start looking too stuck on, you can just dry off that brush and just keep going and just make sure you're getting kind of like broken edges and you'd have a dry brush type of look to it. Long as you've got a few that are running in the same direction, the mind actually, we'll put the rest together and we'll tell the viewer what's going on. It's amazing how little detail you actually need before you start imagining stuff that's not actually there. That's what I love about loose painting. For me, there's little pressure to emulate a reference. And it allows me the maximum amount of creative expression in a painting from a reference photo. Because as you can see, as you can see here, there's a lot of things that are different than I'm trying out. Let's have a look some more here. And the windows and stuff, we are nearing the end of this painting, getting very close to it. The remaining sections, bits and pieces to add on here. Basically just the finishing touches. And often it's things like, for example, the figures, I might think, hey, let's put a bit of yellow for some of these figures. It's putting a bit of yellow here. For example, the couple of people there, and we might get a bit of blue or something here. Let's get a bit of blue. Something like here. Maybe someone walking through there. I like using gouache as a finishing touch as well for these bits. So make sure you place some of the bodies, the people just facing the right way or just kind of standing up. They could be in the shade or something like that. They're not against spending a whole lot of time on the figures. You can barely tell that they're barely hilly. They actually can go in. Let me just get into a bit more of this bridge, bit of the detail on the bridge here underneath like this. What else do we have? Some of the bridge here has like some little sections as well, like Doc and beats within the bridge, just structural indications like that. You can tell. The bridge. Let me get an a bit of darkness on this little boat here, on that right-hand side like that and go back into it later and decided I don't want to put some figures on it or not. Looking good. What I'll do is also start adding on some little birds in the sky. Starting some of this area here where I've accidentally put in a bit of brown in the sky. I can just cover that up with the flock of birds like that. Sometimes it's the most effective way. Covering up these little splotches and little bits of mess that sometimes dry. Funny. I think they look interesting by themselves, actually just in the sky, but sometimes it does help to have a few white bits as well in here. I just used them as kind of like highlights as birds. I have to remind myself to go overboard. But with this one, I want to put more birds and year because it's a kind of a coastal type scene. And so you can see how the birds, once you put the birds and they start creating a sense of connectedness. So to see where I'm going with this connectedness, the same you see here with these little arrows that poke up into the sky. The buildings that connects the buildings on as well to the sky slightly. So this is what the birds do. They give a sense of location, sense of this coast, coastal seen this water. There's birds are people eating food hanging around. And it connects the sky with the, with the buildings. Let me just try to put in a bit of detail for these figures in the boat. Very hard to see exactly what's going on in here, but bit of imagination, imagination like that. Just soften off this bit of color underneath here. The remaining bits, I'm going to just use a bit of white gouache to finish off the entire scene. I think this will really start bringing things together. I can just start to tidy up some of the areas on the left as well. Bit of white gouache. Straight from the palette. You can see straight from the palette. We can do things like work around the windows by putting in a bit of white around the windows like this, like this. Putting in just a bit of little bit of indications of highlights and what have you in here. Let me see what else we can do. Shoulders and heads and shoulders of some of the figures like that. This could be like the boat as well as a bit of light in there would be nice. Let's have a look. Where else can we put in a bit more? There's these kind of like handrails and stuff on the actual bridge. I think some of these would be nice. Just have them running downwards into the bridge like this. They're marking where they are, where these areas of the bridges, bridges anyway, they're running across like that. They're really not that many of them, but any bits and pieces where you think, hey, I'm missing out some detail that I want to add in there. That's what this is for. As long as it doesn't look too obvious, you will be completely fine. Good. These windows are a little bit more fancy. The second row windows there is little signs and stuff on the buildings. You can see you put them in, but there's a couple of signs there. More white on this area of the breach. Just want to draw brush some of that on so that it starts to blend a little better. Of course, these figures in here, they tricky to see exactly, but you can get a little idea of them trying to do this or pretty quickly. But normally, what you might want to do is let it dry for a little bit as well. Before you just start putting in the gouache. You're going a bit of gouache in here as well. Here. Figure beautiful doorway or something like that. Let's have a look, Maybe a bit, you can start putting in little bit here as well for some of these windows that bid in the tower, left-hand side of the tower like that. There have been in the rooftops like that. You can also put in a little bit into the water as well to indicate some waves. Bits and pieces. Like what I'm doing here. Which is why it helps if you can actually, if you can actually leave the white of the paper. But that's not always, not always possible or desirable if you're trying to get in a very consistent wash. So at times you can just do what I'm doing here, which is completely fine. Some final finishing touches. And really what I want to do is just add on some shares of documents to indicate some windows that I've forgotten to put in for that building there. You can really just keep on doing this until the cows come home. But touching Bits and pieces, touching go basically with some little sections. Just looking around if there's any imbalances in this. And I think I quite like it. We'll call this one done. 30. Class Project: Your class project is to sketch and paint a watercolor landscape or streetscape. This can be a saint featured in one of the class demonstration videos are based on, we want to get own photographs or saints you've observed outside. You can also refer to the scanned drawing and painting templates attached, which will allow you to trace the drawings if you choose to do so. I recommend drawing every scene. Freehand. Drawing is an important step in improving your painting skills. It provides you with an opportunity to compose and plan your painting. Complete your drawing lightly and loosely in pencil so that it won't show through in the final painting. Once you finish the drawing, use the watercolor steps and processes included in the class demonstrations to complete your painting. Finally, upload your project.