Mastering Loose Watercolour Painting: Night and Day Landscapes

1. Introduction: Welcome to the thrilling and captivating world of watercolor painting. As a beginner, mastering the art of creating a loose yet accurate landscape can feel overwhelming and daunting. What do you start? What techniques do you use? How do you bring your vision to life on paper? In this class, you discover all the essential processes and techniques to transform any photograph into a stunning and impressionistic landscape. With my expert guidance, you learn how to create a masterpiece that captures the essence of the scene and showcases your unique creative style. I'll show you how to imply time and context through painting both day and night scenes. Together, we will explore a breathtaking landscapes from around the world. And I'll take you on a journey to recreate each one step-by-step. You witness my entire process in real time. From the initial drawing and composition of the scene to the careful layering of light and shadows. Finally, to the addition of details and highlights. With each lesson, your skills will improve. And you'll watch your paintings come to life. Whether you're an experienced artist or curious beginner. This class will equip you with the tools and techniques to create or inspiring landscapes with ease and precision. To join me on this exhilarating adventure into the world of watercolors. And let's unleash your inner artist together. I can't wait to get started. 2. Materials Required: Alrighty, before we get started in this class, I want to go through the materials that I'll be using. And you wouldn't necessarily need all of these materials. I do have repeat colors and colors that are very similar, but I'll go through the ones that you need the most. So if we start over here and look at my palette, my palette is arranged in such a way that I've got all my warmer colors here. And it slowly transitions to the cooler colors. So basically all these yellows, oranges, and reds, slowly going towards the blues, goes to a couple of the browns here, and then overall to my darkest colors. So basically the purples and black or neutral tint over there. I'll use a variety of colors and these two here, this is a bit of quinacridone, yellow, and a bit of yellow ocher. These are pretty nice colors in terms of getting in that nice bright light coming through the scene. Often use this near the horizon line. Also use it in the buildings to imply bit of light coming through the windows, got a little bit of Hansa yellow as well. Kanzi yellow is a very vibrant yellow, whereas quinacridone yellow is still vibrant, but it's more of a golden color. And the yellow ocher is more of a muted down, more of an Earth and sort of yellow, couple of oranges their power or orange or red. I've got myself a Quinacridone, orange there, which is nice granulating orange. This color here is Buff Titanium, which is an off-white color, not 100% necessary to use it sometimes though, I also have a bit of cerulean blue. These two colors, not too important, but basically lavender and turquoise, which I use sometimes but not very often. This here is a bit of ultramarine blue, quite an important staple. And if you only have n only able to get one blue, I'll suggest getting the ultramarine blue. I've got a couple of grounds here. This one here is burnt sienna, and this one here is burnt umber. Burnt amber is just a little bit darker. Moving through towards the back here, this is a dark green. So if you use an emerald green or an olive green, hookers green, completely fine. I've got a whole bunch of purples and neutral tint. Neutral tint is just basically a premix black. And you can mix that up by using all your three primaries. So if you've got the ultramarine blue, you've got a bit of red and a bit of yellow. If you mix them all together, you're going to get a nice dark color anyway. Okay. So that's pretty much my entire palate. You can see I've got two large wells here. That one I used to mix up all my cooler colors. This one I use to mix up all my lighter and warmer colors. Don't often clean it too much. When I start a new painting, perhaps I'll just clean off the edges, but as long as I don't have anything That's greenish on this side or just two out of the ordinary over here, too much green there perhaps. I'll just more or less leave it like this every time I start painting. And like I said, I've got a lot of colors here. And for this class, if you only have three colors, basically, if you've got a nice yellow is something like a yellow ocher, you've got apparel red and ultramarine blue. Those three colors will really get you buy in this entire course. You can see this particular scene here. I've got the sky at the top, which is a dark blue, goes down to a lighter blue. You can just dilute that blue down here. And a lot of these buildings anyway, I kind of a grayish color which you can achieve by mixing all three of your primaries together. A bonus little color I have as well when you can't see it, but it's basically a bit of white gouache. And it's a separate tube of paint which is opaque watercolor paint. I use that, mix it in with some of my other watercolors. Ink sometimes create little highlights, as you can see on the edge of those figures, top of the cars, things like that, right at the end of the scene. In terms of paper, what I'm using is 100% cotton watercolor paper. It's in a medium texture. You can use medium or rough textured watercolor paper. And this is really important because with textured paper, basically the paint will settle in and spread a lot more in a uniform manner rather than sink into little dips and rivets in the paper to farm when you're using smooth watercolor on paper or hot press paper. So something important to make sure your paper does have some texture to it. It's not a big deal if it doesn't, but just remember it's going to dry a little bit in puddles if you do use paper that doesn't have a texture to it like this. So finally, here are some of my brushes, and there's not all too many brushes that you need. Again, these are your watercolor mop brushes. These ones here they pick up a lot of water. As you can see. They have a large belly and a small tip. And the small tip is important because when you're cutting around shapes or you're trying to imply details, you can still hold a lot of water without having to reload your brush and go back constantly. That creates a fresher look and creates more continuity so that you can basically get in large shapes with as few brush strokes as possible. That's really important to achieving a loose look rather than going in, starting off, adding a little bit of paint in here for picking it up, continuing and continuing, going back to the same area, it's just going to offset the different layers. It's not going to look as organic. So three different sizes really just depends on what you're painting for the sky, e.g. I'll probably use this larger brush, okay, but for the buildings, I'll use the medium-sized mop brush here. Finally, these two brushes here are synthetic brushes. I've got a synthetic round brush and I've also got a synthetic flat brush. These brushes are really good for getting in small details such as car headlamps. If you're looking at a figure, getting the figures, these little light poles here, details of the windows, anything that requires detailing. These are fantastic then not for painting large areas and getting into nice smooth wash. And sometimes I can use it as these downward strokes as well to create these reflections. Here in the ground, we even a larger, slightly larger brush of this synthetic quality. 3. Street - Drawing, Light: Alright, we've got an interesting scene here. I really like this one and it's unusual because it's a nighttime scene. It's also the perspective is a bit different. It's coming from a more top-down aerial perspective. Looks like the photographer standing on some, a flight of stairs or something like that. But I want to add some figures in, and I really liked this reflection of the light on the ground is sort of Nocturne type of scene. So let's go ahead and get in a bit of indication. Firstly, of where the buildings touched the ground. I'd say it's roughly here, about a quarter of the way through the page. Okay. Just a quick indication like that. And what I wanna do here is just kinda be pretty loose with the pencil work. There looks like there's some type of not sure what it is, like a billboard or something here could be a bus stop or something near the side of the road. And there are some bits of light reflected off from these bits and pieces here. Okay, you can just see them. These little billboards or something just being reflected here on the ground. So I'm going to keep just a quick mental note of that. But to me it's just another object, just another interesting object that we can Placing here. Actually behind you can see this car running behind. It's a bit tricky to see, but yeah, it's just the car, perhaps the back of a car or something there as well. Just going over to the right-hand side, um, of the scene. But I actually just move this back a little bit like this. Maybe it looks better. To me, it's just really a shape at this stage. Let's go ahead and I'm going to start putting you in a bit of Scribble here for the building, this large building here, and look out Council of loose ongoing as well. For the time being, I'm just wanting to get indication of where to put the roof of it. Something like this. There's another building here coming in from the edge at the side. Okay. Like this may be like that. Now we know that it starts not in the center but left of the center part. So that's why I'm drawing it in like that. There's all these other buildings here out in the back like this one here. There's another building here. So I'm gonna just add that one in. There's a few more. I mean, it's hard to see them all the way off in the background. We will fair, fairly far off into the distance as you can see. But the great thing is that we don't really need to put in much details for these buildings here at the back there just gonna be quick indications. And over here there's like a footpath. And This building here to the right is the main attraction. Okay. Let's put it in this building here on the left. I'm just look, just indicate quickly roughly where it is, but it's coming down like this. Okay. And look how loosely I'm just sort of penciling this stuff in as well. This is some sort of shock front. I can see here, just the front here, the display cabinets, the window here. Okay. Just coming down and it's a rainy day. And we're gonna get some reflections on the road, which I'm looking forward to doing. Okay? Yeah, it's an interesting sort of perspective. It's always good to challenge yourself, do something a little bit different every now and then. That road comes in all the way at the back like that. And then you've got the other part of the road that just runs out here perhaps. Oops, let me just bring that one in a bit more. Here. Might bring this down further, like he may be. Okay, that's better. So there's cuts behind like that. The off like that. Alright, good, good. Yeah, very interesting perspective. It's not something not a usual sort of seen. But I want to really getting a bit of indication of this. Everything is sort of perspective. Maybe this get rid of this line. Will leave some of these maybe running across like that. Okay. A lot of this stuff here on the ground, I'm going to just use four reflections later on. But that's a reflection. I mean, that is kind of a bit running across the ground like that. There is also some amine over here. You can see there's a couple of cars or scooters or something like that running over. I will actually just work on this side, this side of the scene. They started seeing first. Now these buildings, we're going to need to just detail the touch. Okay, top part of it like that. Running across, gone off into the back and then some windows is a window at the top. He's another one. Another floor. Another floor we can put in like this. Here's another one. If I'm if I don't get the exact number of floors, I'm also not concerned as well. We just one of the big things is just trying to get an indication of all this. There are these repeating structures of windows which I like that coming down look, there's another one. I like how some of them are lit up as well. You can see the insides, this nice warmth in the insides of the windows. So we can indicate a bit of them afterwards. You can also see there's some details of the railing and stuff like that as well. As you can make out like this, just kinda these railings. These windows are not so visible on the left-hand side. But you can still put in a bit of that like this here. Like that. A lot of that, a lot of this will be just painted in a big Silhouette. But I'm mindful that this building is, it's fairly detailed and so I just want to roughly put in where some of these windows are but not try to overdo it as well. Okay. So how many rows have windows that we got? 1 234-512-3451 more here, coming down a bit further. And this is the front side of the building, as you can see, it's like a year the front side. So I'm just going to roughly bring this bring this line work down like that. May have to read shape some of these windows later or just move them around to touch there. And underneath here, look at that. You've also got these like nice shades. And you've got reflected light on them as well. This is really important too. In some of these beautiful looking shades, I might just get them in red actually afterwards. I'll extend a few of them off here into the back as well. Why not? Good. Maybe have this one a bit, little bit lower. And then underneath you can see this things like these tables. Who knows what we've got in here? There's a whole lot of stuff running in there. We might have a person, couple of people in there. Just simplify this down. It could be someone sitting at a table here inside, just keep it looking a bit busy. But outside this restaurant or whatever I thought, why not have a few people? There's a person just walking around up there as well. Okay. And it might actually be easier just to make it look slightly elevated but not to elevated. We could ever figure here and going up the stairs or something. That's why they're a little bit maybe a little bit shorter here in the back. Okay. Oops. That maybe have someone here as well just to be closer to the front of the scene. Like that. They're just maybe crossing the road. Crossing the road. There. We do have some cars like all that car anyway, over on that side. But whether you want to put any other ones in here, that's up to you as well. I think maybe another one might be good to add in here, just to give a sense of a sense of scale to those fingers so that they don't look all the same. And this will give a bit of a reflection as well. For that car. We can have another one perhaps around. Look another one here. Just a simplified car. Alright. Just going, going across into the scene like that. The figure here that's roughly a little bit taller than that cars you can see. Good. Okay. Go back to this building, some more of these little windows and stuff like that, we can do all that later. But what I like is these the floors of this building as well. You can see it's quite, quite an interesting looking building, but the windows having a little bit more light and especially this building is closer to us as well. It would be good to get in a little more detail in some of these windows later. But I don't want to do too much of it. As you. I really like to let the brush, brushwork show through more than the pencil. So we've got some figures there. We'll be able to get some nice reflections here on the ground. We might even be able to get another figure just standing here. You going into the scene like that. I'm kinda thinking this one is a bit too big now. So I'll just reduce the size of this figure at touch. Okay? That's better. Reduce the size of that figure. It lead to bit from last time. This will be some nice, a little reflection here as well. Okay, I've got some figures walking through. And there's also some like a lamppost here you can see it's a nice little lamp post here. Just, simply, just simplify that down like that. Okay. You might even want to put in another one here if you'd like, over on this side. Okay. Simplify this down. There is this sort of, you can see here these kind of railing go up here as well. Something to potentially keep in mind. I don't know what that is. Fire hydrant or something on the side of the road. Okay. But just a little bit of something up here. Maybe we can edit in near the end to make it look like they are stairs or something that's closer to the foreground. But I think that's a good jarring to go ahead and get started with. So what I'm gonna do first is I'm going to pick up a lot of these lighter colors. Okay. Let's go ahead and get in. Going ahead and getting a little bit of light into the scene. So I've got myself some yellow ocher, but near the root Hall, really vibrant ears here I'm going to use just pretty much lightest yellow that I can find as well. So just dropping that in, I'm saving my, my my strongest highlights for these sections here, where we've got more light on the actual buildings themselves, the windows like that. Another good thing is like the orange, like get a bit of orange in here as well. Just a really light sort of pyrrole orange running through it, more strength down here as well. But really what I'm doing, as you can see, I'm just getting in the lighter parts of the painting and I'm not fussing about too much. Yeah, I'm just letting it do its thing. And I can tell these windows are sort of, they're definitely not too warm, but I'm going to make them a bit warmer anyway. Okay. But I'm just adding in this nice, lovely, warmer color running through there. And this is going to be a focal point for our painting. And something that the viewers view as I will be attracted towards straightaway and k. And you can see how some of this light just emanates up, emanates through the other parts of the building here, coming through the back of the car here as well. So that's kind of vowel lot source in a sense. And a little bit of that light also showing off in the ground. A bit of that reflected light off in the ground here. Just bringing that down exaggerated really. I'm gonna do it for this window here on the left as well. Okay, bit more, maybe yellow ocher or something like that, gets some of these downward action. Okay. Just as long as I've got a bit of warmth running down the page, this is going to be great. Okay. Good. In the background. There's not a whole lot to put on there. I'm just going to get in some of these lighter colored white. It's just buff titanium. Okay, for those buildings off in the background, maybe a touch of purple or something or grayish color just dropped in at the back there to dial it down a touch. I don't want that to be too much of a focus. And the rest of it, I'm just going to coat with some of this yellow ocher and a little bit of this other color as well, a bit of this burnt sienna. It's pretty warm colors as you can see. Just to give it a bit of a backing color. And then what we'll do, we'll go over it afterwards with some with some darker colors as well. Okay. Look how quick that's done. I've forgotten some of this window here is a bit of light in that window. Let's put in some of that. And the rest of the building again, just I'm using a bit of burnt sienna, yellow ocher like that. Here. The good, Good. Alrighty. Be some more light on this car, just a bit more warmth in there as well. And a bit on the ground, just a bit of grayish color maybe on the ground like this to contrast with all the rest of the yellows and things. Now I really think that the background, the sky, and also this pod needs to be pretty dark, especially near the base here. But I will spray it down quickly because I want to do the sky first. I will spray down the bottom to keep it wet for afterwards. But for the sky, I'm going to mix up myself a bit of a bluish color, purply color, and touch of blue with it as well. A bit more blue. I want to make the top of the sky darker. It's just going like that. Let's see, just test, test it out. Ultra marine and a bit of purple, bit of it of that, use a larger brush, this will be better. Okay? Blue and purple k. So it is darker at the top. And I want to get this, make sure I get this in right. Like that. As we move down the page, you move down the page, we're going to make this lighter. But you don't want to cut around those shapes a little bit as well. That okay. Just a little bit of that building. But as we move down, Look, I'm just adding more water into this mix here. If it mixes, That's no big deal. I don't want to leave a bit of white on some of the edges that helps too. Separate app, separate the sky out in a little bit like that. Okay. If you do feel the sky at the top is just not dark enough, you can while the paint's still wet, just dropping a bit more like this. Nice little, nice little stroke up the top like this. And that should darken it a bit. Encourage that to blend as well. Okay. Move the paper down a little bit to let it blend. Charge it to blend using thicker paint at the top so that it doesn't create too much water coming down. Okay. Thicker paint at the top. Okay. Might shift some of it down the page as well here, just just let it shift down a little. Okay. Let it do its thing. As you can see. You get only get one chance to do this while the paper is still wet. So I try to make sure I've got it got it in quite accurately. Bit of neutral tint as well off the top just to darken it a touch, a little bit more darker and make it less bluish as well. Okay. All right. Let that all seep in and do its thing. Now down the base of the painting, Let's go pick up a bit of blue color. Again, this sort of darker blue and a bit of neutral tint as well. I'm gonna do this, I'm just going to feather some of this darker color through the yellow that we had previously painted. Mean to do that. Some of that up a little tissue paper will help that. Really the aim here is just to encourage this to blend on a bit with the darker parts of the ground. Okay. Neutral tint and a bit of bluish color that just come on down, just mix it, mix it in. Like this. That were blue here. Swell. Good. Still pretty watery as you can see. That everything should sort of mixed together nicely. Okay. So let's leave this to dry. 4. Street - Shadows: Alrighty, everything is all. Dry it off now and he comes the fun part we're putting in the shadows, just some of the remaining shadows and the details into the same good to make buildings standout come forth from the background. And a little bit. I'm gonna be using a combination of Russia's really just two brushes. Either a flat brush, small flat brush or a small round brush will do fine if you, if you are painting this as well, then also a larger brush like this, a larger mop brush. Okay. Probably one of these ones like that. Just so that I can just having a look here. These two mop brushes small and what brushes get the largest shape of the building and the case. So I can, I'll go for the smaller one for now just to be cautious. And also I've got myself a small flat brush somewhere. Flat brush is just going to help helped me to detail around some areas where the other brushes too large. So let's go ahead and firstly, we are going to decide what kind of color were painting the buildings. I'm going to mix up a blend of this brown. Yeah, I've got a bit of brown. I've got a bit a neutral tint, got a bit of blue color here. And just trying to get myself a nice balanced dark here, lots of water. Still talking about 50% paint in this whole mix and 50% water. So it's still quite watery, but because the paint is darker, we don't need to add too much water, whereas the lighter colors, it doesn't really matter so much, but this needs to be diluted down so it's not too dark. I want to get it a tiny bit more warmer to start off with. And then we can add some more corners here on the side. So we would just like to have different types of grays, grays that are cooler and just a little bit warmer like here on the right-hand side. And to do that, I just add in some more little bit more brown on the right hand side. And on the left-hand side here, I've just got more bluish color. Let's give this a try. Okay. Start off the top here and test that out. Okay, not bad. Maybe a bit more darkness. Look good. I wanna do this hopefully in one quick go. I don't want to spend too much time fiddling around with the details like that. That's the top of the building. Like that. Really more water as well. A lot more water coming across like that. You can leave some of these windows illuminated like this as well. The whole building doesn't have to be dark like that. And here's another window here. Touch that window. Yeah. Leaving in a bit of that light as well as so important. This is coming down the page and here you see the windows and I'm just again leaving out some yellow windows, windows. Okay. To just exaggerate the appearance of lights in these some of these areas. Okay? Okay. Of course will detail more as time goes by. But for the time being, I'm just going to get in the main gist of what I see. Sides of these buildings. As you move down closer here, you'll notice that it becomes a lot warmer and the shadow is a lighter. Because when getting closer to the light source, much closest to the light source. So I'm just turning things down a little bit here. Adding more water into this gray. See that just a lot more water into this gray. And I'm coming down. I'm still getting the outline of this whole building in, but I'm toning down the gray a little bit so that it doesn't overwhelm everything. Okay. Good. Just spray it a little bit. This okay. Good. Side of this building does need to be touched darker here. Just get it to stick out of the background of touch. Also these buildings here in the background. I'm going to just I'm going to just darken them off a little bit, but only a touch out in the background. So more of a silhouette, as you can see, just more of a silhouette back there and leaving some of that previous wash as well. Okay, good. The base of the building just underneath here can be done with a small flat brush. Again, we're just figuring this out as we go. Now underneath the shades is probably gonna be a little bit of darkness and areas. Okay. Still lots of lights on the insides of the buildings, so I don't want to overdo it. What's over here? Some more pieces over here as well. Just some more. It's here. Okay. This is actually, again, this building or whatever here in the front, as you can see which kind of pops out. So I'm going to darken this actually to make it come forward a bit more like this. Give it a bit more. Presence. Is figures in there somewhere as well. Alright. But notice how all, everything is just sort of joining on nicely. And I'm not really getting too bogged down in the details. Okay. That's a car there. We've got another car here as well. In the background. This is going to be a bit of and you get some reflections here and on the ground as well. For these cars. Let's just put in some details for them. First. Just bring this grayish color down a touch as well there. Okay. And for this building here as well, I'm just going to adding a bit of darkness up the top. And really just doing the same thing as we did on the right-hand side building, just make sure that it's darker than the background. But for this one, I'm really going to make sure that it's darker than what we've got for the the right-hand side and buildings because this building is technically closer. Okay? But I'm gonna do this in one go without too much fos. Write like this. Let's bring this down. That's shop front here, like that. Front area of that sharp just over this side. Good. And then you've got this reflection stuff on the ground as well, which is important. I will just get rid of that quickly. You have gone over it too much, but more the edges of the building. And I'll do this actually with a flat brush. Flat brush here. Pick up some darker paint, dry off that paintbrush. Maybe I'll do it here first. Something like this. Hey, like that, Just kidding a bit of this downward brushstroke action and K For these bits and pieces. But I don't want to eliminate all that light as well. So you've got to be careful. Car here as well. This one is going to be touched more detailed. This another car or something like that. Okay. I'm here. Let's get into the side of that building. The reflection of it running down and also the side. Just a quick downward stroke of paint like this. Alright, just got some nice, nice little reflections. Okay, let me just do this car up a bit. Get a bit darker around some parts of it. Okay. Fantastic. Just really trying to create a bit more shape. These nice I like the downward reflections as well. They do help bring everything together. Okay. There's some way for me to connect up these buildings on the back like that. Some of them reflecting as well downwards. Okay. So we're really just doing the shadows of the buildings and also the reflections at the same time. We do have some figures in there, but I want to get the shadows and stuff of the figures later on. With the final the final wash. I think I think this is pretty good for our second wash. I'm going to give this a quick dry. 5. Street - Finishing Touches: Alrighty. So now what we have to do is put it in the final finishing touches of the painting. And this is one of my most favorite parts where what we do is just basically use a small brush. I've got a couple of small brushes really, but I'll focus on a small synthetic round brush and also a small synthetic flat brush. And I'm going to pick out some details when I'm getting some fun little details. Neutral tint. Okay. Neutral tint, bit of brown butter blue. Just mixed myself up a nice grayish color. Now where should we start first? I think for some reason I just want to start here. This rooftop or wherever of this building here. Just want to darken this down a touch. And at the same time, I'm also being mindful not to get rid of the previous wash because you want parts of these different layers to show through in watercolors. Alright, look at that. It's looking to, looking a bit more interesting, bit more textured, but it's also bringing forwards this structure. Just need to pin it to the ground a bit more as well, just like that'd be more darkness near the ground area. At times you might need to even redo some of these little reflections like that, okay, you can just quickly redo it. A touch. Is top part of that structure like that. There we go. It's kinda looking like it's coming forth into the foreground more. Okay. Good. We have this car here in the background as well. Let's just I'm going to just darken it off the touch like that. And we can do things like just put in more signifiers of detail like the windows and stuff. See, just start to look a little bit more like a car. And I'll also add in some maybe some darker some darker but some highlights there for the tail lights afterwards. Okay. Something like this first, there's a figure here, some a person just walking in front and a couple of legs like that. Simple sort of figure here. Like this. The head in as well. And perhaps getting a reflection on the ground of figure just down to just one little downward stroke like that won't help, I believe. I think to connect the feet up. Legs up. Okay. Let me just make sure my anchor this structure bit more to the ground as well like this. Okay? So that's kinda looks like this person may be going into the scene. Maybe an arm outstretched like this. I did have I believe another car here forgot to put put in some of the details for it, but we can add in a little bit of the back end of the car. Okay. Just a little bit of that back-end of the car and also the wheels underneath like this. And join it up with that figure. A touch. Okay. And again, just some downward brushstroke to further just carry this down the page a bit. This reflection could be a car, could be anything there at the end of the day but something like that. Okay. Let's have a look. What else do we have here? We do have another car here, so let's get this one in first. This is again, just another one I'd made up earlier. But creating a bit more darkness as well to sort of bring out a sense of light, especially on the right-hand side of the car. You don't need too much detail in there at all, just enough to. To jump imagination. And the viewer can figure it out. Darken that reflection just to touch like these. It's important to dry brush these reflections on as well. So it doesn't look too detailed. And we'll get some nice highlights on the back of those cars as well later on. Here's another figure. Okay. Okay. Downward brushstroke for the reflection. I always try not to make it too detailed. Just a quick joined on at the base or good. Okay. Let me work on this building a touch as well. Just put in a little bit of grayish color in there to bring just sort of change the tone of some of these objects, especially the cars, are a little bit of grain there does help. I'm just mix it around a little bit like that. Okay. I'm good. Now the figure here off in the distance. Okay. Just putting in a bit of color. And the legs, like this, legs are so important to help indicate that they are figures. Okay, and move downward action as well for this one bit of reflection, that one, that one turned out really well. That just make sure they connect onto the legs. You can make the body a little bit, the legs a little bit darker as well. Okay. Like this and then they just drawn onto that shadow better. Okay. Good. So we've got a few things going on, a few different figures and people running around in the background. That's another figure in there. That might be another person in the restaurant or something like that. People sitting down at the table. A lot of this stuff is just indicating what may or may not be there in the first place. And leaving it up to the imagination in a sense as well. Okay, let me get the top of this little section that building in like that. What else can we do? We can separate out some of these, these little bits and pieces. The windows as well. You'll notice this some little details and the windows, it's picking up the same color. You can see down here is actually enough detail up there as well. But look, at some point, you have to have two. Separate this from the reference photo would be it, especially when you're drawing, it's not gonna be as accurate. And so when you start painting, you'll find that just don't line up exactly as they, as they do in the actual reference. And so you have to just improvise on the go and give your scene its own sense. Okay. Let, let just this same building. And of course, just using the same grayish color, I've got windows separated out that window a little bit like that. This one as well. I could perhaps put in a little bit as something like this. The more here. Another one here. Line running down the center of the window. This row of windows here down the center, I think quite important. This is like the front end of the building, in front of the buildings. So just put in a little bit more detail. Guys, look at the Windows, you've got a few of them that we can just improvise and put in another window. Sometimes I just purposely make them, some of them look a little messy, and some of the others I'll do more detailed. Okay, so that we've got a bit of variation in here. So you get near the top. It's kind of everything just seems to blend together. A bit more difficult to see what exactly is going on up there. But some of these lines, as you can see, I've just moving the brush across and creating these little lines running down the side of the buildings. They are gold that help to bring out the details of the buildings. But make sure you dry brushing it on to have a look this section above the window here. Sorry about these shades. Think a little bit of tiny bit of darkness up here could be good. Just what darkness but just a bit of something, a bit of watery mixture of gray in some areas to join it up a little. Right? I don't want to get rid of this beautiful lot emanating from that section. So we have to be careful. I reckon, just little touch ups here and there would be good, like little bits of darkness running through in some areas and that as we sort of get onto the edges of the scene as well, one of the things you'll notice is that I tend to make things less detailed off in the edges. And that's basically so the viewer, viewers eyes drawn to the edges too much that we're more focused on the center or the focal points of the painting. But see how those little bits of yellow that we left out before really become quite an asset later on down the track. And the create the illusion of these windows that are lit up with a bit of life people when they're doing something or another. Okay. And look at that just little bits and pieces of detail I'm adding in. Alright, so I'm looking on the left-hand side. Left-hand side. I'm going to put you in a bit of detail here for the windows, these little bits and pieces there like that for the balconies. Okay. You've got to do this quickly as well. Otherwise, it looks to put on something like that. The front of that building there. That little detailing for these these would you call it? Um, pillar or something here. Okay. How far does it run down? So different here, doesn't it? Yeah. Again, the other bottom part of the window and some the details again here as well, just little details of the architecture hinting at it really not not trying too hard there. I do like the fact that in the insides are suddenly Windows. You've got these frames, darker sort of frames. So I'm just trying to indicate some of these but not draw too much attention to it. Tricky because I want to put them in. But I know from experience that sometimes when you identify things too much, it just loses its loses the magic of the entire scene. So you've got to be, you've got to be sparing with some of these marks that you add on. Okay. I actually got rid of some of the stuff here in the left-hand side. That doesn't matter. I don't care. Just wanted this to look a bit more reflective. You put in a bit of darkness on the inside like that as well. That everything needs to reflect. Rid of darkness and then that also has to reflect downwards the touch. Okay, I think maybe some indication of the roads might be good as well, just so that I can imply what's happening. So let's try to do this here. Here. That kind of goes off around the back end. We got maybe something here. Maybe there. I had a little bit of a road. Okay. I want to put in some little windows and things for the buildings off in the background. Just some little quick indications. And perhaps dark and off this building a little bit here as well to help that one in the front. The one on the right hand side here just stand out a bit better. Darken it marginally. Okay. Just a little like that. Okay. Tiny windows are indications of details off there. It doesn't matter too much because it's so far off in the distance. Some little details like for the balconies and things like that. I can just put in little bit of this stuff here like that. Not for all of them, but some of them. Perhaps. There might be a few windows that you want to draw our attention to or just darken a bit around the edges too. So as you can see here, little bit of extra, little bit of tiny, extra darkness and areas. It's important in watercolors to have that full range. The full range of tones in here. There is lampposts, I'll put in as well, just starting about here, bring it down to the pavement. Like there were roughly finishes off that as well and then there's actually a reflection underneath. But I remember putting one in perhaps over here as well. Maybe I can just make one up behind this figure, putting it somewhere here. Okay. There's some verticals would be good. Lamppost. And bring the bring a bit of that reflection downwards like that. Bits and pieces on the sides of the road like this, what that is like a pole or something there as well. Not only that, you don't do notice some of the stuff here in the foreground, like I was tossing out whether to actually put it in and out. But I think I will just for the sake of it, this railing that just goes up makes it look like the photographer is standing on a slightly higher vantage point. As you can see, they're put in another, Let's put another poll here. Okay? And reflection like that. I'm thinking I might just shorten this building a bit like here. Lengthen it, sorry. Like this. Otherwise it doesn't make sense. So that's still got the reflection coming down, but it's a bit because that could be steps or something meeting up like this. Alright. We put in a few bits on top of the building. I wonder just some. Little touches of detail here and there, like chimneys, little chimney detail or something like that here. Let's put in a little bit of white gouache to finish this off in detail. Some small other bits and pieces. Bit of white gouache, K. And we'll actually mixing a bit of orange as well, orange and white wash. Have you been getting some tail lights, reflection of tail lights here. Like that? For the cars like this. Have some just come downwards like that as well. Oops. A little bit of a reflection down. Whitewash to put on a little highlights for the figures. So you can see here there's another figure here. That lamp outline that lab a little bit more mount, put in, put another one here. Just a little indication of a lamp. Bit of yellow in there. Actually just touch the yellow in there. Maybe one here as well. I was putting in four. Let's have a look. What else can we do? Just warm up. This is the squash and the figures. Maybe a bit more here on top of that building. Sometimes when you lose a bit of that light off the buildings as well, you can kind of bring bits of it back as you can see like I'm doing here with the gouache details and stuff like that. Okay. Use a figure here as well. Inside the buildings here. It'd be too light on top of this rail link. Okay. They're just on the front of that car c. We want some light just reflecting off it. Hitting the top of it may be from the source of that comes from the buildings. Of course. Just put some little dots of color up here to indicate the lights or something on the building. You sometimes do get bids coming through the buildings as well. But here's another thing you can do if you've missed out a bit of light and you want to put it back in to the buildings. You can do it. You can do it like this just with a bit of touch, a gouache as well through some of the windows and kinda bring not recover it, but certainly just bring it back. I'm just mindful to make sure I'm using a little bit of it down here as well. That it says spread out more evenly on top of this car. I think just a bit more like this car That's looking quite alright. Finishing touches. A good fun to do. And yeah, I mean, I spend a little bit of time on this. Okay. So now I'll put a bit more here on this building, just a touch of little highlights stuff as well. And I think we're done. 6. Paris - Drawing: Okay, let's go ahead and get started. We're going to turn this one into a nocturnal scene, but for the time being, we don't have to worry about pretty much anything else, just the drink. And I want to put in the base of the buildings. And it's probably about a quarter of the way through the page. So if we imagine the center of the page, measure the center of the page about here, we wish to want to separate that into half and draw a quick little line across the page like this, just to mock it out roughly. Now, what I wanna do is work on these buildings. And what we going to try to do is basically just start with a very loose sketch. We know we've got a whole bunch of these buildings and things here on the left-hand side. But of course we've got this larger building here in the center and we can see it just sort of go all the way up here. That's the center part of the building there. And you've got this top part sticking out like that. What else do we have? We've got all these bits and pieces coming off the side of the building. It doesn't matter all too much. There's chimneys and stuff like that as well. Just want to get in a quick indication of it. Okay. Like that. They're the sides of the building there as well. So symmetrical like this. Okay. Maybe I'm just going to bring that down roughly around here. Okay. And there's so many windows on this building, it can get overwhelming. Alright, but we want to just reduce this all down to some simple shapes once we actually get in with the painting. And you can see here, I'm just trying to indicate in really basic sort of details. You can see here on the sides of the the rooftop areas, there's bits sticking out, that kind of thing. It doesn't matter. Let's count how many floors is 1, 234-561-2312, 3456, 1234, 5612, 3456. So we've got roughly those six floors in here. Now. All these windows so much going on. And the great thing about this scene is that we can actually choose what we want to do with all these windows. I don't have to put them all in, but I certainly want to put in these ones out the front, at least the front, the base of the building. You've also got all these little, little details here, like this shade that is just running across the base of the building. They're kinda comes all the way somewhere like here. Okay, There's bits underneath that's going to make some, create some lights at the base of the buildings as well. These buildings are, but you can see here there's little, little windows that we can indicate and some of them we might want to draw out a little further. But for the most part, there's not much of a need to. I'd just like to put a few on each side so that we can mark out each floor so I don't forget. Don't really forget afterwards. Let's have a look. Here's another building here in the back. And it's all just turns into very much Hodge section like this off the side, we've got more buildings out here. And not only that, we've got this bigger one here on the right-hand side, which almost comes out the top of the scene. But we can just simplify it down like this. And probably something on top of the building. Okay. Let's bring this down like that. Like that. This is like the side of the building. And again, I think this is how many floors? 123-42-3456, floors. 123456. Like that? Oops. Kinda like that. Maybe. We can just draw it in again, some more of these windows, what we had, what we had here and the other one. Okay, this is gonna be great to put in some light. Nothing alike as well as this nice shade, this blue shade here, that I will quickly draw in this light and bits and pieces underneath this building as well. All these buildings here in the background don't really matter too much. Just get the side of this building in. Okay, so it looks more three-dimensional. And then we can just join it up a bit more like that. The rooftops in rest of this stuff, we can just kind of make up later. I think the most important thing is just this building here in the front. It's much more difficult to get this even if we don't work on it now and plan it out. Okay? Now, left-hand side here we have got What have we got here? We've got another building here running down a couple of buildings. This is all just gonna be a large shape really. But there is a side part of the building like they're like that. But of course we have these cars, some little cars. And the one I like about them is that you've got this light that's reflected off on the road as well, which is going to be excellent. Sort of implying this wet road scenario that we have here. The cars running through this scene, as we can see here on the side. They kind of lined up behind each other like that. Like that. Just cause lined up at the traffic lights waiting to go. Another larger one behind here as well. Now the car behind there, this one is sort of just facing forward. So there's not much we need to put in there like that. But of course we've got some smaller ones off, way off in the distance as well. If you go to boxes or shapes like that. But for the most part, I mean, if you look at all these buildings here, it doesn't matter. They just go off into the, off into the distance and putting the side of the building, at least sides of these buildings like that. This can be also some buildings here in the distance. Great. They can also maybe be some cars here, just get in, some cars just maybe coming towards this intersection or whatever. They're not here in the reference, but I want to put them in. Another thing that we haven't really gotten here is perhaps some figures will not have a person have a person standing there. Probably be peak that personnel that standing there, maybe waiting to cross the road or something here like that. You'd have a person actually crossing the road there. Okay. The further back in the distance, this looks like a restaurant or something like that here as well. So we can put some tables are indications of something back in there. Okay, good. Fantastic. Alright, I think that's good. Let's get started with painting. So I'm going to actually go in with a large brush. 7. Paris - Light: So I'm gonna go in with a really large brushes as a watercolor mop brush this size. And we're gonna go in just to the buildings first. And because it's a nocturnal scene, I want to exaggerate this feeling of light and especially near the windows, these windows, I'm just dropping in a little bit of yellow for the Windows. Not for all of them, but a good number of them. I think it would be good to have a vibrant yellow in parts of them. That what else do we have? Not just that, but in the ground as well. You will notice that there is also some light coming off these cars. Okay. Let me pick up a smaller brush, maybe like this one. The rest of the building is really like a brownish, yellow or green color. So just a quick light wash of that color will essentially do. I'm not I'm not trying to I'm trying to get in really any details. But I'm going to cut around, see how I'm just cutting around some parts of the buildings, leaving a little bit of lots of color on there as well. That really helps to just create a bit of sparkle in spots that I want to portray as having extra light here at the base of the building here as well. See, I'm just getting some little bit more vibrant yellow for this part. The more that vibrant yellow actually run out a bit, but I've got some other yellows to some more. I've got some of these milky color. This is called buff titanium. And I'll drop some of that in there just to change it up a little. Here's the rest of the scene. Just bitter that Buff Titanium Hughes, while this shade is actually that color wash in there as well. Okay, Good. Rest of these buildings, Let's drop in some color. And it's all just this this warmer color that we've got already. Nothing special. Nothing special at all. Okay. Yeah. Yeah. Maybe a little bit of yellow as well or for these windows. Okay. Bit more of this vibrant yellow here. The building underneath there as well. We've also got these headlamps, these these lights coming from the car. So just some of this yellow color running down the page is also going to be excellent in a moment. Okay, so now the thing I would like to maybe exaggerate some of these light coming off the center building. It's bring, let's bring some of this light downwards like this. Okay. Also on this one like that. Cow quick, I've done that. Okay. Back to that building, these buildings, and I'm going to start putting in some more yellow ocher. Remember that in this wash we are only just trying to get in some lighter colors. We'd not trying to putting any any darker washes just yet. Okay. Cutting around those cars and things all back there and look, that's another building there as well off in the distance. Some of this stuff on top of the roof areas as well, just needs a bit of coloring in. Okay, good. Now, what I wanna do is work on the ground a bit because I want it to be a little darker. But what I think might be better to do just get the sky and first saw spray this down, spray the bottom part down, and go to pick up cerulean blue. And a bit of ultramarine. Ultramarine straight up the top first. And I'm going thicker, darker up the top if it's too vibrant, unlike to SG adding a little bit of neutral tint in there. So it's not too to bluish bit more, more of that ultramarine up there. Okay. And as we go down the page, I'm going to add in some of these. Cerulean blue. And we'll cut around parts of the building, around parts of the building, but I'll also leave some white so that all it doesn't all just mixing downwards. Okay? The goal here is I want to make the bottom bit lighter, just some kind of lighter bluish color at the base. So here, slowly in here. But as we move up, it gets darker. Just call that in like that. Some of it is going to mix as well. Don't worry about that. Little Guassian there can't hurt. Just this connected bit here. Looking at the larger brush allows you to blend much faster, more seamlessly as well. Alright, oops, I didn't want too much of that yellow in the sky actually, but we're going to have to deal with it. Some more ultramarine maybe up the top and bring this little bit of it down perhaps. Okay, Just want to feather it in and I'll tilt the page a little bit, hopefully encouraging this to blend down a bit more. See that we've got some darker bits of color running down the page. And hopefully this will blend nicely. Blend downwards. Some more blue again up the top. Maybe some purple or neutral tint. Again, increase that sense of darkness at the top because it just tends to move down the page. This color when you place it straight on like this. Okay. Good. So the sky is looking pretty decent. It's smooth. It's actually a bit more of a gradient through there, but doesn't matter. It basically I just want to create a darker darker area, blew up the top here. I'm just adjusting it continually. Okay. Good, good, good. Now I want to get the bottom to look pretty similar as well. Some blue ultramarine and some cerulean. So cerulean and ultramarine just mix them together. And I'm going to do this thing. Just mix, just encourage the colors to mix together. The yellow and the blue running down the page. She uses smaller mop brush. It'll be easier. Just move some of this stuff running down the page like this. Get it to join on together. Blue and neutral tint running down like this. Encourage everything just to go together like that. Okay? So we're almost, in a sense, just mirroring the sky. It's difficult in this case, we, it's easy to mix up a green color if you're not careful. There we are. Good. Okay. Okay. Good. Car could have like some down with brushstrokes as well. We'll go figure it out later on. We'll figure it out a little bit more later on. I'm quite happy with how this has turned out for the time being. Some more darkness here as well. Okay, good. Let's give this a quick try. 8. Paris - Darks: Let's work on the building and I'm going to pick up a brown and mix it in with some blue. To create myself, I kinda grayish, bluish, color. Neutral tint to a bit of black can help as well. To darken it further. I still want to make sure I've got in a fair bit of water here. I want this mix to still be quite watery. Maybe a bit of brown and the touch of brown as well, burnt sienna as well. Okay, look at that. Just a nice grayish color. Alright, now, let's go ahead and start off with this building. I'm going to test it off. First. Let's test that off like that. It's pretty dark. Maybe a bit more water like that. Okay. Good. So I'm going to cut around these windows, just little windows as you can see, little bits and pieces. But I want to make sure this whole building is basically dark and we'll start really at the top here. And this is where we want to also a bit of attention to how the details as well, okay, like that. We can also leave a bit of light on some of the areas like that. Look at this. This is these little bits and pieces here on the roof top. Really just runs down the side there and it's down the sides of these buildings. And the trick really is you trying to leave you trying to leave out enough light for the Windows and bits and pieces on the building. Okay. I like that. Yeah. This left-hand side of the building, we've got more and more details. And when you using a large brush like this, you are really forced to, to find the most efficient way to paint things. That, again, here's that side of the building and I can just again indicate some of these windows just showing through 3456. Little windows and things just showing through maybe a bit more blue. Just want a bit more blue in this mix. A bit more blue. Just cool it down a touch. The mix of this color is that 50 per cent paying 50 per cent water. As you go down the sides of these buildings, you can see little or you can just cut around and find some areas that you want to leave out to indicate the windows and that kind of thing here. Okay. Then there's one other one here. You know, you kinda just make them up as you go like that. And we will detail them a bit more later as well, so no need to worry. Okay, Just some more. They're cutting around, dab off a little bit of paint because I feel like it's a bit darken areas. Can you on this? Yeah. Okay. And the buildings here in the back then become quite dark. I'm don't really need to bother too much with them just for these back buildings, I think. Simplify them down there. Look there. Here. Larger one here. They're just trying to find myself a large shape that I can paint. Large shadow shape as you can see. Maybe popping a bit more blue into the as we go further back like these ones here, just dropping a bit more blue, help push them back further. I don't want to overdo it, just simplify them. The remaining buildings back there. Ones here as well. Buildings to the left-hand side. Here. Cutting around these cars and the front. We get to the right-hand side again. I'm actually a little bit softer here and lighter as we move towards that back area. So I'm just lifting off a bit of paint. As we move towards the front again, right back with some darker paint. Especially with this building, which is quite close to the foreground. I'm just cutting around the windows. You can see like that. Okay. Good. Notice how everything just sort of blends nicely together. That's really what you're looking for. This little shade here, I'll just emphasize that a bit like that cut around. We do have a bit of that going on here as well actually, but in a bit of paint there, there are some darker spots near as well. We can just see underneath just a little smaller. Dark, darker bits. Good, good. Little flat brush. I'm going to indicate some details on top of the building like this part, for instance, some literal chimneys or whatever gear as well. While the paint is still wet, you can do stuff like this and it works out quite well. Good. Some of these reflections and stuff on the ground as well. I'm going to just see if we can do create some sharpness like that. These cars, the reflections of them running down the street like this. Like that. It's a figure here, there's a person here. Something like this. Simplify this stuff down. Okay? Of course I'm going to preserve this bit of light here as well for the building. We do need to break pretty break this up a little bit as well. I'm just thinking what we can do maybe like section that just runs through like that. Okay. Cutler figure here, legs. Legs of that figure. Underneath here. There's usually some pillows and things are running down the building. Okay. Just connect the legs up more legs. And again, getting that downward brushstroke quickly. Some more here for the cars on the left. Just a bit of darkness underneath and just bring that straight down like that. Simplify this down. Of course, I don't want there to be too much going on in here. Okay. He's back, ones in the back somewhere like that. This building here as well. Maybe some reflections coming down the page. Dry brush, something like this here. Okay, good. So far we've got some decent looking little reflections and stuff in the ground. Um, we're gonna give it a quick dry and adding some finishing touches. 9. Paris - Finishing Touches: Some small details. I'm gonna be using some black paint. Or if you've got neutral tint, you can use that as well. A bit of neutral tint or black paint. And I'm gonna go and find myself some details on this building so we get closer to it like this and use some frames like that of the windows. I'm basically just picking up the paint with a little bit of little bit of water to activate it like that. And this is to give an indication of those windows. That but the floors as well, I think would be good to imply just even if we've got some broken lines running down the sides of the buildings like these. Just something like that would be very helpful to give it more structure. We'd lost some of that structure before. Yeah. Run down that right-hand side of the building. The top part of the building as well. You can just indicates some small details there. Just dry brush work, remember? Pits in the top part of the buildings there as well. Okay. Chimneys that I really put in all of them before, but just further add-on to them. Okay, Let's have a look some more windows, note some more windows here that just drop them in. This is just a little flat brush that I'm using. Flat brushes are great for this type of detailing because they already, by the time you drop in that brushstroke, it already looks kinda like a window because the brush takes on this squarish like sort of shape, rectangular shape anyway. Notice when I'm doing the windows, I'm not I'm not being too precious with them as well. I'm trying to keep these ones in the center more detailed, but the rest of them, it doesn't matter all too much, especially these ones on the side. I don't want to spend too much time doing them. Okay. Depends what you like. I mean, if you'd like a more detailed these windows to be more detailed, just putting a bit more time into them. Okay. Maybe I want the vertical running around here. Vertical like this. Some kind of vertical like that. Good. And slowly. But surely this starts to come together and look like a building. If we keep on working on it. This building is a bit odd looking. It's got these little what they are and these little bits running across there like that. Let me just separate it out in a touch there. It's kinda darker on the roof as well, like there. And you got smaller windows. See look at that. Just I'm just simplifying these windows down like that. Not to be just literally adding on some little dark details and areas. You find around here as well. You might have some darker sort of Windows. Maybe here. We want some extra darkness in these spots as well just to help bring out the light that not only that underneath the building as well, you will find, see just these little bits and pieces that you can indicate the insides of the restaurant or whatever. And it helps to gain, bring out the details of it. There. Good. These buildings here on the side, they get more and more difficult to discern what's actually happening in them. But some of these, you've got these little do you call them balconies and things here as well. You don't have to do them all but just an indication, just draw them in with the brush quickly at the mean so that they don't look out of place. Oops, too dark, doesn't matter. Some of them like e.g. here you can see just a little bit of this, these brush strokes like that. It's amazing what you can imply with just a few simple brushstrokes. As we get off into the distance you see here that everything just becomes more murky and difficult to really discern exactly what is going on in there. And this is where I sort of take advantage of that. And k and indicates some small darker details. But really for the most part I just leave it as it is. Okay, but see how that see I'm just flicking together little bits of color running through here, but I'm making it lighter so that it doesn't stand out too much compared to the stuff in front of the building there because I want that to be the focus. Okay. You've got these buildings here as well that you can just imply a rooftop or something like that there and things that normally things that normally you would detail a lot more just in the front and everything in the background. You leave it so that it appears to just recede into the distance. But you might want to pick out a few little features like to see these windows here. I've just gone a little bit darker. Like that. Maybe at the base of the building as well. You could just darken off a little bit extra there. Okay. More blue. Blue and black and brown just mixed together. Now I'm going to go through do this building. Now, we've got this window here. Draw that brush off a bit more. So I've got some extra control over these. And see this balustrade. Whenever you call it the, sorry, the balcony. They look some more windows, just drawing them out. Of course. The top part of this building as well, which is quite tricky, but we can get a window in here as well. Like that. When enough. Just darken the top of it a bit more. Good. I'm going to just getting a few little indications of this going backwards, like this actually in heaven and have enough paint them for that. Okay. We got here, we've got some little balcony area is again just feathering a bit of this stuff in here to indicate some details that may or may not be there. I like this. Some of the architectural details, e.g. you've got these like little, see these little bits running up the side of the building, these little stones or whatever rigs running up the side of the building like that. And we can separate the floors out as well. A bit more. I don't want to overdo it. I feel like I'm actually over detailing. Now. We get down to the bottom of the painting. You can just feel a little, little bits and pieces like that. I reckon with the figures, we can detail them a touch more as well. The head, little bit of darker color here. Some of the figures, but also for the the cars have a bit of extra color. The base of them. Like this, the front side, they're just bringing it down. Bringing them down a bit further, like this. Detailing them more easily. More cars and stuff out the back, just dark and the base of them touches. As long as I'm doing here, will be amazed just how little detail you really need in here to pull together or something that looks like a car. So these are some more buildings, I just want to indicate them and putting a bit of darkness and year as well because it's just separate separate it out a little bit. So it's not all the same color. Might even want to do something like that here as well. Just to change it up a little bit. Okay. Yeah. Bring it across, something like that. We go and put in some more of these little windows, these little quick impressions in the background like that. Some chimneys and stuff on the rooftops as well does help to indicate indicate them more. This building here is kind of gone. Doesn't matter. Now what I would like to do and maybe some guiding lines here on the ground as well. So if I just just a quick couple of things like these here, okay. Give it a bit of directionality. Really just picking out some fine details that you want to just want to indicate in this section. I think behind the cars as well, to find that can help to bring out the cars and detail. The contrast of the cars. People. Again, I'm going to redo some of these figures a bit like that. Just bring them out and touch. The barely noticeable even through this, this whole scene. Hey, go for some darker reflections just in some parts. Bring it together. Okay, now for some final touches and more darkness and areas like this here, this section here. Pick a few extra bits and pieces, darken more behind the cars. Just want to add a bit more contrast back. They're difficult to difficult to just bring out more of the contrast of the car. So I'm just going to have to darken a bit behind. Hopefully that will help. Okay. Let's give it a quick dry some extra details. I'm going to put in a traffic pole or something here. Okay. The traffic pole, maybe we can turn this into this into some kind of lamp like this. Like that. Simple he is simple lamp like that. Pretty dark. This. Anything that is really in the forefront. I'm just add-on to add onto the scene. More of these figures. Again, they have just been lost. So extra detail and a bit of little bit of extra darkness there can help. Maybe another one here. Yeah. Just kinda put in C the traffic light here or something, pole or whatever. There. Could have another one running up here. That really dark paint. Not much water in here at all. Really dark. Because we're putting in the final finishing touches of the painting, including the gouache. Once we have that Guassian there, that's it. It's done. Okay. But I tend to find like putting a bit of extra darkness on the bottom of the cars can help to anchor them more to the ground. So that's what I'm doing. Yeah, that's what I'm doing here and making them more boxy looking as well. I think we'd lost some of that before, so that's what I want. I just bring them out a touch. Yeah. It could have a figure here as well. Just anything. You any final touches really? There we go. That figure here, the legs just pulled out those legs back, back out of that area. Another figure here, the links as well. Excellent. Maybe a few little specks of darker colors in the background like they're these cars are starting to come together a bit more now, little bit more. Some kind of light, traffic light there as well. And the background, oops. Something else there. Some verticals. Help. Just give it a sense of depth. Let me just bring in some funnel. It's a wash, white gouache, a little bit of white gouache mixed with some yellow. To bring out some highlights, some final highlights. Like on this car, K can just bring them back out again of the darkness. Knowing that you can use them on, on some of the windows and areas as well that you might have missed out on all you perhaps wanted to indicate a sense of light, but you weren't able to before. This is amazing. It creates this little sparkle. Remember to use it sparingly. And I always like to dry brush this stuff on as well. I don't like to use it on straight. Just a little bit of highlights on the shoulders of this figure, the silhouette there. This one as well. Nice little silhouette here. A couple of figures back there as well. When this car windscreen maybe getting hit by the light from the right hand side. Like that helps really just to bring back some of that light that we had lost before. This looks kinda funny. This one here, just want to darken that off. Actually. I can not off better. Else can we do sharpen up already? Just sharpen up this shade a bit. Some areas of it, a little bit too light or whatever coming off some of the background buildings. Some in here is also would be a good idea because it kinda lost a lot of that stuff before. You can even just mix it up and created almost a grayish color too. If you want, just bring back a little gray or something on top. I don't I don't want to overdo it, just little indications like this. The main thing I want to preserve with this light in the center. Everything else on the peripherals is not a big deal for me and just gotta be careful not to overdo it. But that just a few little bits and pieces. Sharpen this. I can sharpen this up. Some of these windows. Sharp in some of these up a little. Just allows you to create a bit more definition. These windows, I will just add in a little bit of the gouache as well for the side. Okay. Quick little bits running through the windows like that. Then we're done. 10. Rainy Street - Drawing: Alright, we're gonna start off with the drawing here. And there's not a whole lot to actually drawing here. It's more just, I'd say to mark out some of the interesting aspects, interesting objects like these lanterns up the top. And also general, just getting that general perspective and an idea of those buildings. So I'm going to separate this scene roughly into halfway around here is roughly roughly where the buildings and just in the center of the scene. Still keeping it pretty, pretty loose. Now that buildings in the background, they are really quite abstract. And you've got a few of the shop France with the lines and things running down the front. I won't have to make them more detailed later on. But it's very hard to see exactly what's going on here. You've got a building that's roughly around here, and then you've got another shop front or something here as well. Lots of light in there too. Not only that, but you've also got this. Now what it is, It's like the top of the shop or something like that. There lots of buildings and bits and pieces all going off into the distance. Okay, what's going on? But what I really liked here are these sort of indications of these lanterns. You've got them, these lenses which are just going up into this into the scene. And I'm actually then not so visible in the in the reference photo of themselves. But just when I draw them in, we'll want to, I think I just want to make them a little bit more detailed. It's tricky because in the scene there is already a lack of detail in a sense. And so when we go ahead and add in our little bits and pieces, it can be quite tricky because there's, there's not a whole lot of detail in here. I'll do like the two figures walking. You can see them just walking in the front here. One of them is carrying a bag. Let's put in the little silhouette of the figure here like that. And you can just see some legs underneath like that. Okay. Something like that. Walking in the rain. And here's the, here's the interesting thing is, well, you've got this umbrella, which you can indicate like this. Just little umbrella like that. Walking in the rain, kind of an arm here with maybe the umbrella stem going upwards. It will hand here. Difficult to do. But you've got a lot of these reflections as well from the, from the red and the lanthanides up, up there. So there's one figure. Okay, probably thinking I might just reduce the size of this umbrella as well. It takes a bit to be too big, something like that, just a bit smaller. And then we've got another figure here. Roughly the same height as well. I'm standing next to this other figure, but the legs are more separated out. Maybe they're walking into this scene. And again, umbrella, umbrella over the head like that. And see a hand here going up with. So there's a couple of little figures here. There is a poll. It looks like some kind of know what it is, some type of pole here in the background, I will indicate that, and this is actually a nice little gonna be a nice little reflection here in the ground. You see that little, little reflection here. Let's mirroring the top because this is the ground right here. Everything up the top has to be somewhat reflected in the the bottom of the sea. Now, I mean, you can't really see these issues. You can't quite see these, these lanterns, but you can see a bit of the reflection with them in the ground. The ones in the distance anyway, and the specs of red in there, which I'll get into later. I really want to find a way to maybe detail, add some details in for this building here. Maybe a couple of windows or something here. And what else could we have over on this side? Maybe some perspective lines. I'm just fumbling around for details that I can use for this scene because there's not a whole lot of details in here, to be honest with you. You know, a lot of this stuff just fades off into the, into the night sky. But of course, you've got all these lanterns all over the place in the background, which I really love. That's why, that's what kinda drew, drew me to this scene in the first place, these lanterns. And of course, how much is left? That's up to you. I think I will get started on the painting though. Kay? 11. Rainy Street - Light: Okay, so first things first, I've got a couple of smaller mop brushes here. We're going to go in and getting some nice, nice details and light areas they need to be what we're doing here. We're really getting in all the lightest areas of the scene. This vibrant orange and mix it in with a bit of red as well. Kind of orangey red color will be excellent for these these lengthens. And I'm keeping them pretty light as well. I'm only putting in about ten per cent paint, but most of it is just water. Okay, Let's drop that in and Indiecade out. Some of these Langton's, you've got some of them that just overlap with each other. Like that. You've got some over here in the dark as well. So we can put in a lot of the a lot of the the darker bits later on. But we have to make sure we've got enough of an indication of these Langton's here before we actually start getting in any of the dark areas because it can be quickly removed. Once you start putting in the the darker color, all of this stuff just disappears. And sometimes if you're not careful, you could be left with not much at all, gonna be the hansa yellow I've mixed in with the orange as well. Just want to just lighten up this part. The touch is also this reflection here in the ground of that, that poll, okay. That you do have reflections of the other ones running through as well. Let me I'm just dropping in a bit more of this, a little bit of yellow in there. Because I want to I want to make it more vibrant in some parts. And you can see there's actually lots of these little land and light shapes and things off in the distance. Plb, some of them just connected up a bit. Another one here actually to the left there. Some of them have this stuff coming off the bottom, like little throws off the bottom as well. That could be another one up there that's in the center. I'll kinda thinking to myself perhaps another one. Something here as well. Could be closer to the front of the scene. Like that. Good. Then of course you've got all this orangey reflection stuff here in the ground, bits and pieces of it anyway. I wanted to actually spray this down a little bit, give it a quick misting over so that the paper stays wet. In the buildings. You know, you've got all these warmth as well. Let me mix in a bit of this. It's a kind of like a white gouache paint. It's called buff titanium, so it's not super vibrant. It's more of like an off-white color because I find that if you mix that in with just any of the other colors, just tend to subdue the yellows down a little bit. Because there's a temptation in this particular scenes to make everything super vibrant. And in the process while you're doing that, you can actually create something that just looks too overpowering. You're balancing it out. And really, you know, I've got a bit more yellow here, vibrant yellow. So I'm putting it in a bit of vibrant yellow. There may be a bit of vibrant yellow over this side, but it's intermixed with this other stuff as well. Quite light colors. Again, just lots of water in this mix. Okay. Don't get to don't don't start putting in too much paint in here. It just cutting around some bits and pieces. You can see here that's pretty light. Even near this. Near this figure here is just cut around the shoulders. But that doesn't mean it's like a white section there. I might leave that actually. Why not just that? Just leave that bit. There. Here in the right-hand side. We've got a luxury, a lot of this, some more of this light there as well, but simplify, amplify down. A lot of this orangey color. Lots of spraying down as you can see as well, to encourage it to blend and move down the page. A lot of this stuff that we're doing here at the base is just reflections of the buildings. Okay, moving down the page and it's actually great if you've got a spray bottle like this, please check that out. This is a quick little hack which saves you time. Moves this color down the page. Like that. Hello runs down my pot, that bottom. Touch. Okay. Alright. Now this stuff we'll take a little bit of time to dry. While that's happening. We're gonna go into the sky. I'll mix myself up a bit of purple paint. I've already got a premixed purple anyhow. Bit of purple paint and also a bit of blue, ultramarine blue. And I want to make the sky pretty dark. Let's have a look how that some more neutral tint in there. It's just a little bit to balloon. So a bit of the other neutral tint in there has a duty to touch. Okay. Good. What I'm doing here is I'm just trying to cut around these buildings. But also in some places will let it mix. Okay, so check this out. Buildings is still wet so you can cut around them like that. Or you can also leave a little little edge near them as well. Okay. So here on the left-hand side, a bit of this stuff like that, just letting it and mix it touch together, like here, e.g. I. Might want to leave in that top part of the building there or not. It's up to you. You might come back to that later and decide then, oops, that's sort of blood down a bit. And you're going to have these little mixtures of the sky. And going around these little Langton's as well. Using this flat brush, I can also use just a small, small round brush as well. That does the trick. Little, little round brush. Just darken this a touch more with some more neutral tint. And look, I'm just cutting around some of these lanterns to imply the shape of them better. And I'm leaving a little bit of white around some of them as well, so that it doesn't completely mix. These two here in the corner. They have more or less dried off quite well. So I don't need to do much here. Just cut around them really like this. Yeah. They're not just dab off some of this paint in areas that has drained into the into the plantains. It's always happens when you're painting wet into wet. You're going to get a little bit of that color, just mixing and mixing it and potentially causing a bit of a mess if you're not careful. But at the same time I do want it to mix in as well with possible to create a sense of and now a sense of connectivity. So far, if I lift out a bit here and there, that's all right. But I don't want to overdo that. I want it to do want it to mix purposely. Okay. But some of this lifting out could help with the buildings there just to make them touch lighter. These Langton's most likely will have to retouch them as well afterwards. Put in a bit of a lighter color, lots of warmth running through them again to get them looking a little bit like that one. Okay, I'm going to grab a small flat brush. And let's go ahead and do some work down the base here. I'm dropping a bit of paint. I reckon what we can do is just give it a quick dry first. I've given it a quick dry, but it's still slightly damp. Paper is still slightly damp. And what I'll do now is pick up the same paint that I've mixed up before. This purplish, grayish paint. Gonna go through and put in some details for the buildings and stuff in the background to just start to bring bring everything together. But I don't want to get rid of all of the, all the warmth and interesting here. So we'll just have to be mindful of that. So here are some little bits of some little bits of brushwork here. They could imply buildings, that kind of thing. There. There's so much darkness running through here. In the background. Even over here you see these little indications as well of the plantains, the smaller ones just below here. Especially a little cutting around. Why not just get some of these slightly darker shape behind some of these lanterns? Use that also to cut around this pole or this stem of some sort. Here. I got Okay. Here. We are. More, maybe like another vertical over here. At some later stage, I will try and detail these buildings a little more. But really for the background ones, it's not a huge deal. Like if you see them, they're just simple, basic shapes. And you've got these sharper ones, like some sharper shapes as well. I'm just drawing them up a bit. Some parts some parts will be dried and some parts will not. Okay. Just trying to indicate a bit of detail in the distance. Okay. Especially underneath around the umbrellas as well. The rupee to the buildings and stuff here in the distance. But the interesting thing is really the ground part where we're going to pick up some more of that paint. And I'm going to really just try to mimic the reflections and things that are running through these buildings and going into the ground. And I'm really wanting to do this quiet deliberately and use some more darker paint. Neutral tint. Lets put in a bit of blue in there as well. Okay, blue and neutral tint, brown. Let's try this. I want to get it around the same consistency as well as the sky wash. If I can put in just enough water in here to drag that through. Okay. That would be good. Remember this stuff will dry a little bit lighter. It's interesting you got these kind of connecting bits. I just connect up. I'm really a lot of it is just a lot of it just joins together, creating a large, darker sort of shape. Here at the base. I'm gonna see if I can just put in a bit more of this paint here. Yeah. Yeah. She cut around this reflection here on the ground. Some more reflections here, just some lighter looking ones running down the page. Just joining up with everything. Okay. Base of these buildings are just need to imply a better sort of around here. Just another line in line work. Okay, I'll give this a quick dry. 12. Rainy Street - Dark: Now time for some finishing touches and just the final darker bits of this entire, entire scene. And I've got neutral tint here again. And if you don't have neutral tint, just mix up any sort of grayish color from your primaries. And I'm gonna go a little bit darker for this. 11 of the things we wanna do is, well, we want to get into the figure as well. So I'm just going to use this little brush. Of course you get a smaller round brush, this will be better. I'm just going to indicate with three girls didn't see the hand or the figure here. Okay. Holding on almost just holding onto the umbrella or something like that. But the whole body of this figure, besides the face and the hand, can be pretty much colored in. And same with the bottom part of the figures dress in this hand here as well. When this hand also has a bit of a reflection of the red on it. It's putting the legs has to be something simple like this figure. And the umbrella. Of course we didn't have to just join this umbrella, Ron. Try to be quick with it. Accurate. Maybe got a bit of an umbrella. We go. That's a quick little umbrella. This figure on the right. Let's do the same thing. So you can see there's a couple of hands, one here, maybe one here. Just leave out a bit of that color. And I'm going to cut around everything else. Okay. Indicate pants or whatever here. Let's put in a couple of legs as well. Thicker paint. The legs. I just find that makes it easier to stand out from all this. When it starts looking like a person, I'll just leave it. We run the risk of putting in too much and making a mess of that. If you're not careful. Oops, there we go. There's another umbrella of a person just walking around. I may have to put in another stem of the umbrellas later on as well, just sort of running through like that. A couple of people, let's have a look. What else is we need to do here? Maybe some details on the buildings. You notice some of these buildings have windows or just some extra little details on it in the background. And you can indicate these on like this. Just bring some of the some of the details back strengthening and just some of the shapes and things off in the distance. Maybe we could put on some windows or something here. They're not really there, but window or something like that. Reflection for these figures in the ground as well. Join up the legs and I do something like that. These two figures will work on just touch of darkness as well for some parts of it, I do think the do you think we could do we could add in a little bit more darkness around the edges. Here. Just another layer of years, just another, just another layer. Really make it look like a bit of a dry brush technique. So just pick up the brush and pick up the paint, dry the brush off, and then continue on. And you will get a nice kind of this technique as you can see. Because I don't want to get rid of that previous wash actually. I want to keep it and still have some of this stuff running through. Okay. But just sporadic little brush strokes like that to make the ground look more more reflections and they're just make it look like it's it's better like that. I like to join the reflections. I'd like to join them on with each other as well so that they're not just separate from one another. Okay? You got the reflections of the figures, but then you've got the reflections of everything else as well, just kinda running through the ground and I'm doing its thing. Okay. Good. I'm going to put in a bit of color for this, these little details with a Langton's, a little dry brush or not even dry brush. Just quick little indicators like that for the lanterns just gives it some just a little bit, little bit more detail. Look at that. Just something running around like that, create a sense of shape better. Because it's difficult once the paint has dried and everything's mixed together, sometimes you lose the lose the actual object in there. So another quick little layer like this. It's not much. But we just sent us some of these lanterns again makes it look like they are actually there. Then they are actually land tons of some sort. They're lucky. You've got a few running through here as well. Tiny, tiny ones of course there. The paint I'm using is really, really lot pain as well. It's not not much going on in there. Just a few little windows or something. Again, these are tricky because they kinda like shop fronts as well. Shop France display areas at the front, front of them that could be a doorway or something like that. They care for all sit around here not to make it too dark so that the figure is kind of disappear because the figures need to be a little darker. Okay. That can that paid off their touch. High-end stuff. A lot of this is, you know, we just implying what we think is they're employing details. Just seeing what else we can do with these figures to just a detail bit extra the legs. Because play such an integral role as important subjects in this scene that it makes sense to work in the more, a little bit. Lift off a little bit of that color. Right side of the umbrella. Good. Few more brushstrokes running through this area, maybe some darker ones as well, some sharper, sort of sharper ones. They could add a little bit of interest here in the dam with brushstrokes as well. For some other reflections, maybe like just some sharper ones and dry brushing. Okay. Let's put in some finishing touches, some gouache. I'm going to use a flat brush. And one thing that I figured we've lost is some of the whites and really, really, really, really light yellows in here. Reflections of the white and the light yellows, stuff like that. So I want to add some of it and we'll experiment around. It's just pure white gouache. One thing I have noticed as well, there are these tiny little, small, little speckles almost like fairy lights or something running around there as well. And the top, we'll play around with that a touch as well. I don't want to overdo it though. Okay? Sometimes, sometimes things are best left, left out of the reference. Even though they're technically in there. Quite a bit of white gouache. Let's have a look. Maybe we'll have some here. Okay. Pick out some bits and pieces in the scene. Dry off. I want to just dry off the brush a little bit so that this gouache goes on. More and a little bit more dry air. Okay. We can just get a bit of dam would reflections for some of these bits of white and stuff like that running through the scene, do notice a bit of it back there as well. Now in here, what else have we got? On top is some kind of riding. I don't know what that is, but quick little scribble like that might do you good. I'm really careful to be sparing with this stuff. You can really go overboard with it if you're not careful. Just re-wet this section at touch. Even here in the bottom, you do have a little bit of white as well. Just, it's just like reflections from above. This area here. Even this shop up the back. There may be a little bit here. Okay, he bring that down a touch. A little bit of wind here and then some here. Give it a spray down to just, just want to loosen that up a bit. Especially that goulash. Make it more watery. Just blend in a bit better as well. I prep that pocket knife. I think we could also just bring out some of the white of the paper by scratching, scratching off in areas as well. Not just here and there will be two. The background of the paper. We'd like to get some of those perspective lines perhaps back, just wet a section of the paper and see if I can lift off some little bit of water and lift off a bit of this paint. Some water like this. Yeah, Maybe as well. Like that. This other brush, this little scrubbing little brush here I could use to lift off touch of paint. Trying to get these lines to run and run towards the center of the scene. This is going to just help also break up the darkness here too. Just picking up, really do clean water and lifting. For this technique. Some final touches. I'm going to put in a bit of orange on maybe the edges of the umbrellas and things. Just to get in this sense of reflection from the lanterns in the face here as well. It really just picking up the paint straight, dropping it in right-hand side of the figures. Like that. Okay. Kind of creating them as like orange silhouette around, around them. Softening it down as well. Touch of white. For the little highlights and things. Realistic. Coming up here. Perhaps. Shoulders. Bring out the shoulders of these figures a bit more. Okay, We're finished. 13. Night Scene - Drawing: We're going to get started with this one now. First thing you notice is that there's not much foreground at all. So I'm going to change this up so that the foreground is roughly about here. Okay, So the buildings, I'm going to just raise up a little bit. Photographers taking a shot just a little bit lower to the ground. And the reason for this is that I want to get some reflections running downwards and the scene. Let's start across with the buildings and we'll work on this one just getting the general shape. Just general shape for this building here, on the side there. And then you've got the bottom part of the building here. Alright, that's part of it. You've got this other building here in the back. You want to take a little bit of time with these ones as well. Don't get too rushed with these buildings. But keep them loose at the same time. Okay. A little bit of that building there. And how much how many more do we have? We've got another two. So we've got this one maybe coming out here. Okay. Like this. Yeah. Then if there's another one similar to this building here, I'm going to say is these like little steps or whatever that go up to the top. They're okay. Just simplify this down. Something like that. And we have, what do we have here? It's kinda looks like another roof, roof of another building or something. They're just trying to get something like that in. Okay. Just a quick little estimate. You do have some trees in the front of this building as well. And here we've got this triangular top of that building like that. Then another building in the background. And this one just comes all the way down to the ground about here. Okay? Now the interesting thing is that you've got these lamps. I will maybe make emphasizes a bit more, maybe a larger one here, there. And you can just see them gets smaller and smaller off into the distance. This is more just an indicator of where a few of them are. Maybe here, another one here, just, just as you can see there in the reference. Alright, little indication. Now the thing we need to do as well as indicates the areas of the windows. So here e.g. we know we've got some windows. And this stuff is going to be important. These are kinda like shop France, as you can see, nice little shop fronts. There's gonna be, I'm not little reflections there and on the ground. Okay. Maybe I'll just move this one down a little bit and create a side. Will be the sidewards angle, something like that. So just bring it a little closer. Some windows and stuff up the top there as well. Okay. Like that. Coming down towards the ground. We've got couple of windows or something for this one here. For 1234. Windows there. Here we've got a few little archways, nice little archways, as you can see, there's light coming from them as well. So indications of those windows. Let's do these ones as well. Again, you've got a lot of detail in here, but I don't want to spend all day drawing. Just want to indicate some of the windows and things in here. Here, the base as well. This shop front is open and you can see just like that, There's more windows up the top here as well. This year is going to be a lot of light. Especially in this building. There'll be a lot of light here and nice reflections running down the page. A couple of trees here as well. Our indicate later on down the track. I think where we could do with a figure. I figured maybe just walking into the scene here. Maybe have a smaller one here in the distance as well. What you really want to do is make sure that you've got some smaller figures because they help to give this scene a sense of a sense of depth. This could just be a person standing right here, okay. Two people. Put another one here, just walking into the scene like that. Okay. And then some maybe some loops, perspective lines or something here on the ground like this. Here we go. It'll perspective lines and there we have it. We've got a nice little drawing to get started with. 14. Night Scene - Light: Okay, I've got a little mop brush here and I will start by getting in some of the warmth in these buildings and very light colors as well. So I've got some yellow, and I've also got this other yellow which is a warmer yellow quinacridone yellow. I'm going to mix some of this Quinacridone yellowing in there as well, just to move this golden color, a little bit of orange in there as well, just to, just to change it up a touch. Because actually on the top there it is kind of more orangey. And k The other side of the building. Well, we're trying to do here is getting the light, all of the lights, the warmth, warm colors and the light. And you will find certainly that there's going to be some areas that you would leave white as well. Okay. This building here, we're gonna go over the top of it. I'm going to cut around some of these little lamps is warming these lamps. Doesn't matter. I'll maybe changed them around later on. What we can also do is lift off a touch of paint in them. Just kick back up into that white of the paper. You can also just cut around. I try not to do that too much. Otherwise, I find that it then you lose that beautiful wash. At times. Some more yellow here, a bit more yellow, there we go. Maybe some yellow ocher up here as well. For all of this stuff, I'm just trying to get in really brief indication of the warmth in these buildings and we'll go back into it later on. Bring some of it back, bring some of the shadows and things out and cut around the warmth. So we are some of it's gone into the sky. No big deal. Let me just pick up more of these orange color here and it's dropping some of that orange here at the base of those base area here. Like that. Notice that the color that I'm using as well is really thinned out. So there's mostly just water in this mix. Probably 10% paint, if anything. And this is going to allow me to really preserve those beautiful lights, light colors in there, some more orangey color here as well. Just drop some of that orange inside. Here. There's more of this yellowy tinge that the base there. This is hansa yellow, which is a very, very bright yellow color. Okay, but I've printed out with a lot of water as well. Maybe I'll just go in over the top of these buildings. Don't have to get it all in as well. We can just leave some of it white. K. What I'll do now, just going to get the sky in quickly, but also spray down spray down the base a little bit. Because I don't want this area to dry. I want that to dry just yet. I'm going to pick up some ultramarine blue. It's pure ultramarine blue. But what I'm going to do is actually dial it down with some of these grayish color over to the left. Okay. Let's see up the top of the sky. I will use probably a small, a small, a slightly larger mop brush, I mean, like this. Yeah. Alright. Because the sky is actually quite, if you look at it in the reference photo, is quite vibrant. But I'm also careful not to overdo it. Okay, Let's go in there. And you can do this sort of thing where you cut around parts of the buildings like that. Okay. Leave a little bit of white on the top of it. Or you can let part of it also mixed through our sort of let part of it mix. And at the same time create some sharp edges of white. As you can see on the buildings. And this allows you to get the best of both worlds. Really, some sharpness and some beautiful, beautiful wet-in-wet effects. Okay, So what I'm doing, little bits of paint that I'm cutting around leaving the white available as well. Okay. I get that. So that is pretty much the sky. You mean you can go in and I might add in a little bit of darker paint just to the top of the sky like that. Just marginally drop touch of that in like that. But apart from that, I don't want to don't want to muck around with it too much. This will dissipate and mix into the rest of the scene. Okay. And Destic. And let's have a look at the ground now I want to get some little reflections of the yellow and things here, yellow and orange. So let's pick up a bit of this yellowy color, yellowy orange color. Let's reflect some of that down to the ground like this. Like that. Okay. Mainly from the shop fronts where there's a bit of orange or whatever coming downwards like this, yellow or something, just bring that down into the ground. Some more here. In a bit more yellow if you feel you've lost some of that vibrancy. I'm really, as you can see, I'm exaggerating this a fair bit to some of this building as well down to the ground. The more water like this. Okay. Pretty vibrant looking colors just being reflected down the page. And while this is happening, we can pick up a little bit of the same blue color that we saw before, okay, that we've used up in the sky. And we can fill in the remaining pieces here with that blue. Okay, so a bit of ultramarine, just picking up a little bit more of it to mix it up nicely and dull it down a touch as well with some of these other colors. One thing you'll find is at the bottom of the scene where you've got all these shadows, reflections of these darker blues and stuff. It's going to be darker than the sky wash. Okay, if you look at the sky wash, it's actually lighter than the the ground. So I want to make sure that we we replicate that. I'll pick up a smaller flat brush and just try this bit first. Okay, good. This one that it kind of mixing to everything. That There we go. There. Sometimes it helps to slant the paper downwards like this as well. Creates a bit more of that downward movement. Okay. More blue here, just slide this surround, this color. Let it blend in nicely with everything. Let's get a bit in here. Okay. In here. Some more. That the there yeah. Here. The stuff on the right hand or left hand side starting to dry off the touch as well. So you're going to have to be mindful of that. So just bringing in some more of this color through here. I mean, you've got a lot of this stuff anyway, this the reflections of the buildings, the left. But it's looking pretty decent at the moment. I will potentially add in a little bit of purple, little bit of this purply color and black mixed together. Only because I'm concerned we don't have enough dark paint in this bottom part of the painting. Yeah. Good. Let's give this a quick dry off now. 15. Night Scene - Shadows: Alright, moving on to the next step. Now I want to get some of that blue again bit of the ultramarine blue. But I also want to add in a bit of purple that I have here in the mix. And play around with this color because I am going to use this as the backing color for the buildings to cut around. Now these buildings have to be darker as you can see, they jump, they pop out of the sky a little bit. And I'll be using two different brushes. I'll be using a little mop brush, and I'll also be using a little flat brush in order to get in. He's darker little details. Now the paint mixture I'm using is about 50 per cent paint and 50 per cent water. Makes sure that just just to make sure that I've got enough strength in there. Okay, so let's have a go. Let's have a go with this one and this building here. Now I forgot to actually add on this a little bit touch of detail here on top of the building, you see this little triangle section there? Yeah, I can get that in like that. Maybe something coming up like that as well. I'm going to bring this down. Don't be afraid to leave out some little bits of yellow in there if you feel That's going to help. Okay. I am going to leave out the yellow for this, these windows. You can see this bunch of windows here, couple here, and then also here. And behind this little lamp here as well, there's a window. But you've also got this building here to the left that we're going to need to cut around at the same time. A little bit more blue and a bit more purple in here. Okay. Um, and then the base of the building as well, you notice there is there are these three do you call them? He's three little doorways or whatever. Just at the base of the buildings like that. Okay. Let's go ahead and do the one on the right. Now, I will add in a little bit of brown into this mix to just double this color down a touch like this. And maybe I can just darken it a little. That might be good. You'll notice also that some of these buildings, like this one here, um, I mean, it doesn't have any lighter parts of the windows, but I can still put them in if you want to. Okay. They're just a silhouette of the building. That's all you're concerned with. Adding in for this particular part of the scene. Then we're cutting around, cutting around the windows like this, so the doorways. Okay. There's another one to the right. Okay. Looking good. And you want to match them up so that they marry up with the reflections below. Using this flat brush. Now just as a change, see how we go. Oops, I get rid of some of that white. Maybe, yeah. Now the window or something, they're there. Again. If you want. Few windows that have some light in them, still, some more blue and a bit more of this purple. I just want to increase the vibrancy of this area or touch. Okay. There we go into this building to the right now. More brown or something in here. Okay. This is all just joining on. Okay, with everything else. Notice all the cutting around that we're doing as well. That's something you really need to pay attention to. So that you're not eliminating. You're not eliminating the light on this scene because it can be very easy to do that. You're not careful. This rooftop needs to be darkened. These kinda just made blew up there and downwards. It's kind of a mixture really. It's just a lot of soft. Oops. What a softness, but there's a little bit of warmth underneath as well. So just simplify that down there. Let's get into some more details with this building to the right. That there we go. Bring that down. You can see here, play around with this building here to the left as well. I will put in, there is actually a little shadow just running down. He sees is this darker shadow running down the side of this building. I can soften this outer, join that up with the shadow on the ground. Just soften that offer touch. Some darker spots like these little doors or windows up there. And even in these buildings here, you have some darker spots in there as well. Some some of these almost dry enough to see to indicate better like that. Okay. Let's have a look. What else do we have here? And a whole lot really. I like to put in some final finishing touches for everything. But let's put in, let's just work on these figures for a little bit because while I wait for the rest of it's dry. Okay. Here's a couple of figures. The legs. The legs are these figures. I'm going to darken them a touch. As you can see, there's another figure here in the distance. Another one here as well. Another figure here. Couple of legs outstretched like that. Okay. Maybe a bit of a downward reflection as well for this one, like this, simplified like that here. Okay. Oops, a little one like that. All this tends to dry off pretty quickly. Anyhow. Little, little paint for this one. I've used just a little bit of gouache. Opaque gouache in some warm color mixed together like this. Bring, just to bring out that figure a bit more, some orange or something. There, there we go. Just to be a little bit of dulled down orange news. Well, just to bring Abby to color in these figures, do have some cerulean blue as well. A little bit of cerulean blue. I'm just mixing a touch of that. They're able to coloring for those figures. Another one here, k. Quick dry. 16. Night Scene - Finishing: Now I'm gonna be using a small round brush to add in some little details. And I'm picking up really just black color and I've got some neutral tint as well. Both of these work fine. Just activate it with a touch of water. And let's go ahead and indicates some of this stuff. So here, e.g. you've got these little downward strokes, some of these windows and stuff through the building, you can just slowly bring out frames and things like that. Darken them often. And if you just dry brush them on, it's even better. In fact, it's preferred. Doesn't doesn't look too put together. Is another one. You know, these these windows up here, there's like these four little windows for little darker spots of the windows up the top as well. We can just leave it in as one darker brush stroke like that. On the top. Just simplify down like that even. Okay, here's some more windows here as well. The buildings in the background. Okay, just a little bit of darkness at the base as well to anchor the buildings to the ground. Indicate this. What are some of the floors of the buildings as well? Just a few more of these windows. It's just touching go figuring out, figuring out some of the darker bits and pieces on the building and what you want to imply, then certainly you can just basically just carrying along. This one here has got a few bits and pieces in here as well. I don't have to copy it exactly. Just imply that's the frame of that top part of the window there. There. You can see they're separating out these buildings as well, just to touch here and there. And there is also this tree has a couple of trees here. So why not just imply some of these branches coming up like that. The pretty dark the trunks and what have you. I can scribble myself in a bit of detail for these these trees out in the corner. We didn't a bit of brown in here perhaps around in black. It just indicates some of these potential trees running through that section. Darken a little bit up the top here. Okay, Let's have a look at this one. This one doing k. Few, a few little bits come in through the side like this. The top, so the rooftops, you'll see some darken areas near the size of the building. They're more of these windows. So you can see good, good. Some bottom parts of the building there as well. Simplify down. Did like these little some of these little lines here in the ground as well, just to mark out the perspective of the scene, give it a bit more. Something like that. Okay. Now I want to add in these lamps and I'm using a really dark just black, straight. Really just straight with a tiny bit of water to activate it. But I'm wondering how I can make them all lamp. Like if that makes sense. Yeah. Just we need to darken the mall and carry this down. I'll make this one come maybe out of the scene and touch. This one can stop right at roughly here. This one here. Maybe just get it to stop there and there is little lamps. Other one off, maybe the hips. I'm here, Here. A few more of them. Up in the distance. Strengthened, just darken the legs a little bit more of these figures as well. That bit of red or something for the faces. Okay? And just a little, little finishing touches where we want to add in some final bits of darkness and details. Tiny bit of white gouache that I have leftover from my previous painting because just re-wet some of this stuff. And you use this with the bit of the yellow that I have left on the palette to create some little highlights. Hey, maybe that can bring back these lamp. I was trying to paint their little bits in pieces. Even on the shoulders and the heads of these figures, you might get a little highlight like that. Here. Just bringing things together slowly. Touch of color here and there. For the gouache, I find can really help to bring, bring things together. I don't want to overdo it, of course. You just just want to do in some areas, a bit of highlight on the tree branches. They're like that's maybe okay. And we're finished. 17. Streetscape - Drawing: Alright, we're gonna go ahead and get started. Now, this reference photo is cropped almost cinematic style with these 2 bar over the top. So I'm going to have to extend this out a little bit and use your imagination here, I guess just to bring these buildings app in the background a bit further. But let's go ahead and get started. I'm going to put the horizon line roughly in the center of the page. Okay. I'm just making sure that I've got enough room for the buildings out in the back, as well as just having enough of this area in the foreground here that we can use. We can use these little perspective lines like this. Simple one point perspective. We're imagining a point all the way back in the horizon line. Then we're connecting up these lines to it. Kinda basic. Like that's just one point. And a lot of the stuff in this scene is actually pretty abstract. I mean, you've got a lot of colors and I'm just penciling in it in some buildings here in the back. And of course some of them are actually a little bit smaller, lot smaller at the back anyway. And there's a lot of smokiness back there as well. So it can be tricky seeing exactly what's going on back there, but you have a lot of the signs, as you can see, these colorful signs. This looks like some kind of building here, this side, side of the building. I'm just going to put in an indication of this side of a building or something like that here. I just select this and going down, let's have a look. Here's a couple of doors or something, or another door here. Darker sort of doorway. This is nice little guide to help me get going. And this is what I was saying before in terms of just using your imagination a little bit. These buildings at the top here, they, they actually go further now that I've extended out the scene more. So I'm just making it up a bit here. And of course we've got this sort of left side of the building here which is illuminated in the light. And again, pretty abstract. And reason for that is I want to just leave a lot of this in for the actual brushwork later on. So I'm not drawing everything in with pencil. You can see over here e.g. this little square or something like that with a sign or something there. You can use that to have a look over here. You've also got cars, and I love putting cars into these particular scenes. And it's rainy day scenes as well. You can see just the side of the car like that, rid of the wheel. The the bottom of the car here, and the light coming from the headlamps of these cars are gonna be so crucial to preserve. So make sure that you indicate those cars effectively. Like what I'm doing here. I'm just drawing them in as if the box is really kind of boxes with this shape. It doesn't have to be doesn't have to be detailed or anything like that. But you're going to have some of this stuff just reflecting off the ground. Bit of that light reflecting off the ground. You've even got here on the side some little bits and pieces like a bean or something there. I'm going to just see if I can pop in another indication there of something as well that you've got these. There's another archway. Look at that as a nice little archway here. Alright? And in the distance that I can pencil line indicate, this is like the side of the sidewalk there. And as you get closer, you get these larger. As you can see, these larger shapes indicate doors and windows and stuff like that there. And let's have a look over here. There's another vertical. There's well, really cool is that there's these little stairwells that run down the side of the buildings. I don't know how exactly going to indicate that, but we can of course put in little bits of the windows and things that are running down the side of this building. It's all pretty dark in there. It's hard to see. Just getting that part side of the door. There's a little light here as well, which we can indicate later. Now in terms of the top of this section, again, it's another, another part that we can just improvise. A couple of windows or something like that off the top like this. Something like that. We can also put in, like I said, this there's some kind of been or postbox or something like that. They're behind the car. This is even more of these rectangular shapes just keeps the same looking interesting. Even here there's a couple of these two yellow poles that just sticking out. I can put at an indication of that in this is the bottom of the buildings and this is the sidewalk. You've even got another car here that is dipping out of the scene. It's just disappearing off. And k. But we can put in indication of the wheel here. Like that. Something like that. The car just off going off into the distance, walked closer to us anyway. Like that helps increase their sense of sense of depth in your scene. Of course, behind the car you've got a few more bits and pieces. You've got like these overlapping shapes like that. These really just smaller car-like shapes behind. I'm simplifying them down. All them lined up in the distance. And as you get really far off into the distance, It's kinda hard to see what's going on. But you do have a whole bunch of cars there. And I like how these ones sort of line up as well with each other. Like that. Whoops. My ended off on that one. And that one off like about here. Maybe. We've also got this larger car that is right about here. I'm going to just put it in like this windscreen first, like that. That will get the top of it in side of the car, back of the car, the front wheel, the back wheel, perhaps front of the car. And the a head headlamps, headlights here of the car like this and connect it together. I also really like how it's catching a bit of the easiest indication of the rain coming down. Just a little little bits of rain coming down from the sky. Now, I'm probably going to use some gouache to emphasize that further later on as well. But this is a nice car that we have here in the foreground. And let's have a look. What else can we do? I think I'll make it maybe a little bit higher. Like this. Something like that. Okay. Good, good, good. Pull it in another one perhaps here. Just get rid of this part there. So it kinda looks like the cars or maybe coming down a hill because the ones in the back, the top of the cars are just a little bit higher up as you can see. Okay. And test stick a bit of headlamp there. We can reflect off the ground as well. We do have another car here in the foreground, somewhere off in the corner. Okay. Back-end of the car and the wheel here as well. We'll just sort of going out of the scene like this. Just disappearing off the front side of the scene. Okay. What I really like as well was that we do have sort of figures and structures running along the left-hand side. This is going to be quite interesting. We've actually got, let's, let's do, let's do some indications of the buildings on the left. So you can see here there's a rectangle. So rectangle something here. The light is coming from the center of the scene as well. So it's kind of just rebounding because almost like rebounding off each other. The center of the scene. So e.g. this here side of the building, this is completely this pinkish color. And as you can see. Creates a nice contrast with everything else. In here. There's all these bits, a scaffolding and things running along here as well. Little bits of scaffolding and on top you've got more buildings and things is actually a larger building here. We can just play off. Here at the edges, the sides of the buildings. There's a side of a building here. Just putting in there like that. Here. There's another one like this. And it's kind of going all the way up into the top of the scene, but we've also got you, we've also got some larger buildings off in the distance. And they are also quite light like this one here. I'm going to get that one in some way. Just making it look like there are more bits, smaller bits and pieces off in the back and leaving the edge of the buildings. This sort of three-dimensional side of the buildings showing as well too, just create a sense of depth in the scene. And also gives us an area for the light to bounce off. These little areas here, sides of the buildings and that kind of thing. The sum all verticals like this. And another one here, just another part of this type of building a guess the side of it here. Okay. That what I really like as well as that some of these windows you can actually like, you don't see them in the scene, but I can actually make them a bit more larger and create a sense of light coming through. So maybe these two, I will leave the light coming through because I just got the idea from this one over here, which has a bit of light running through this window here, you can just, just kind of see it peeking out from the edge of the scene. But it's hard to, to make makeup make exactly what's going on in there. There's even another bit of darkness over here, like a window or something there as well. We can we can put in this can even be like here's the bottom of the walkway. Like there. There is actually usually even a person just walking here. I can just indicate it can indicate a person as well here. Okay. Carrying a bag or something, a bag of shopping or who knows what. So that's a simple figure like that. Okay. I really think it helps to add these figures in here. Makes a, creates a sort of a sense of life and makes it look like there's a bit of a story going on. Okay, So that's one figure. I also had a you've just perhaps putting in a second one somewhere here. Like walking across. Walking across like this, maybe that okay. There's the head, front leg and the back leg. Here. We redo this. Let me redo that one. Could maybe get it coming out more like that actually towards the front. That's a bit better. Back leg like this. Okay. There we go. Another figure. Then it's just going to scribble in another one somewhere like maybe here even This one looks too similar to the other one. I'm gonna make this figure maybe walk towards the right-hand side like here, or just something like this. We haven't another figure. Still not liking the look of this one. Too much. Redo it quickly. Simplify that figure down like this might be better off like that. Okay, there we go. That looks a bit better. So there are a few figures coming across in the back end of the scene. You just produce this down a bit. Footpath here. Okay. Another person here further back. Maybe forgot figure further back. Smaller they get as you move further. So there's really a lot for us to work on here and windows and stuff like that. Like I said, here's another window I thought, why not just put it in another one and keep them a little bit separated out with a bit of a different pattern, but still following the perspective of the building. Okay, I think we've got a good enough drawing to get started. 18. Streetscape - Light: Alrighty, So to begin with this painting, the first thing I'm going to do is pick up, pick up a mop brush, a larger mop brush, or just any type of larger brush. I'm just using this one here. It's a calligraphy brush will probably switch to others. And I'm going to start off firstly by thinking, where are we going to put in some of these lighter color? I've got a bit of red and I'm mixing this down to about 90% water. So it's very, very light. You can see here. I solve over to this other normal mop brush. There we go. Just as just a little bit of this pinkish color in here, pinkish red color. And I'm going to start off very carefully just cutting around some of these cars with the cars anyway, I'm going to put in some more colors in there. A little bit of that pink. But I also want to get in some yellows and things like that too. So just a little bit. And you remember you keeping this very light, extremely light. It's interesting because in the sky You actually see quite a bit of this pinkish color as well. But always remember what we wanna do is with this first wash, we don't really want to get in any dark colors. Maybe a bit up in the sky In a moment, just to make it look like it's darker at the top. But we're focusing on all the lighter colors. So this is just a bit of blue or something I thought I'm dropping here at the top. Bit of blue, ultramarine blue. We'll mix down with the mixdown with that pink as well. But this is going to create this night sky. Look something I wanted to change up a little bit and just re-emphasize bit more. And while the paint is wet, this is where you have a lot of freedom to do this type of stuff, otherwise, you lose all that later on. Some more pink. Yeah, just a bit more pink color. Mix some more of the sap. And we've also got some yellow. I'm going to grab a bit of yellow, just drop some of that in, in parts. But we're keeping it very light. Just remember that super light colors. But I don't want it to all be that same pink. So that's why I'm mixing in a few other bits and pieces here. Keep it alive, keep it interesting looking. Lot of other colors in here, pinks and reds, yellows, bit of Hansa yellow in here. Okay. Even this sign as like a light almost like a light bluish color to it. Something you can do as well, just pick up a bit of turquoise or something, e.g. when. See if we can, this is a bit of lavender color, actually just pop that in there. The big goal here is just getting in a nice wash, cohesive wash that covers everything. More yellow. Some Hansa yellow, more of that pink here. And here. You almost just, for me, I just sort of squint my eyes and just locate some areas of the light in this scene. It's also good to keep yourself a little spray bottle near by like this one. Keep one of these handy so that you can just re-wet if you think it's going to be dry. Hey, more yellow and things here. And a lot of this stuff is going to be muted down a lot later with the other colors. But yeah, I want to get in some lighter colors, especially near the doorways and things like that as well. For indications of indications of the light that's coming through. This is a very tricky thing to do because you're playing around with all these lighter colors, which is all in good, but you'll also planning to keep them to the end. Some of them anyway. So you have to be, you have to be thinking of the end product at the same time. There we go and look this some more here. I'm just kinda hurry this up a bit. So I don't overthink it. If there's a bit of white in there as well, don't be too fast about it. I mean, if you look at it, it's really just a little warm colors in there. Lots of warmth. Some more here over the figure maybe as well. Okay, let's have a look at the road and the cars. Think to ourselves what we want to do. So the big thing like I was mentioning before is making sure we have some of this light in the scene and having that a lot in the road is really important as well as you can see, there's a lot of, a lot of light going on, a lot of reflections from the rainy road. I'm just going to spray that top part down a bit again because I'll probably go into that a bit lighter as well. So what I'm gonna do is I'm going to pick up bit of yellow, light yellow. Just dilute it down a lot, probably 95 per cent paint. You can see there are just parts where I can potentially getting some really light reflections and these are the reflections of the car head lamps and stuff. Okay. Here it's just I mean, it's it's pretty much almost a white color, but I'm keeping it. I want to keep it a bit warmer. Running down. Can you see that just a bit of this white. And it's also coming from the buildings like from here. There's some light coming off these parts of the buildings there as well. So I want to get some of that running down the page. But also down the back end of the page two, we have these pinkish, light pink colors running through here, which I want to emphasize as well. So, yeah, just same red pyrrole, red color. And I'm going to just drop that through the center along with the Hansa yellow. And this is really light, as I was mentioning before, really liked that. You've almost got no paint in there at all. Move this reflects the stuff here running down the page. More pinky colors running down. Okay. Just verticals, lots of these verticals, okay. They will run all the way down to the front. Even these verticals is running all the way down and spray it a little as well. Okay. Some more. This pink. Nothing, nothing. Like I said, I noticed before is a bit of coolness. Maybe some tissue or lavender color that I have already. You can just drop some of this down here like that. Just let it spread a touch. Because we've got some some sort of lavender color actually back there as well, like a lilac color in in areas. Again, just dulling that down a lot. Let's get some more of that yellow for this car as well. Okay. Good, good, good. So now what I'm gonna do is just pick up a bit more darker color. I have got some neutral tint and ultramarine blue. I'm going to mix up neutral tint and ultramarine blue to get myself a nice sort of darker color. Let's put that plot some of these through touching onto the edges of the light so that it creates a soft edge in areas so that it blends with the, the warmth in here as well. You see that it just blends with it. You can only do this while the paint is still wet. Okay. It's probably pretty dark here in the foreground, so I need to make sure I've got enough strength in there too. So she's down at the base like this. Okay. This between this car, this is going to be tricky as well. The car headlamp reflection, so just a downward brushstroke like this. Like that. That neutral tint and blue, It's all good. It's neutral tint and blue. More of it here. Okay. Yeah. Yeah. Yeah. Okay. Here as well. Getting it to just blend in, create some nice soft, wet and wet effects. The car is here as well, just a bit more their cars could do with a light wash of some warm color as well. Let's just put a bit of that in there. Not just the Buddha warmth. This one here, a bit of warmth and probably turn kind of grayish as well, but it doesn't matter. Yeah, there we go. Just just to dull it down a touch. Get rid of the white paper. Good, good, good. Ready? Some more darker bits. Well, running down this bottom bit more darkness. Thinking I want to just re-emphasize the light from this light from these headlamps just running down the page. I'm just dropping a bit of clean water. Yeah. And that spread down the page to touch. Okay. Clean water and a bit of yellow like that. Well, I can do this. Paper is still wet. It's a perfect time to do it. Really. Do it for these ones here as well. This car here. You can even do it here. Okay. It's gold. These little bits of reflections and stuff here in the run down the page. Paper and just drop in. Just dropping a bit of watery color. And you can see it just can you see just the color running through? Okay. I'm being careful not to overdo it as well. I'm flicking of painters maybe could help. Yeah. Good. Little bit of darkness in some of these buildings while I can get in some nice wet and wet, a little wet and weird effects. I really liked the mid tones of some areas. I can also just spray down the buildings or touch as well. Because of course I have not colored them in and I will put in a bit of pink and orange color as a base color as well. For all this beautiful base color. We can get rid of it later and make it darker in areas too. If you miss out on some parts of it, don't worry, just in terms of leaving white or whatever. We can change that up later on. And also same with the figures. I think I'll just get in a bit. Same pinkish color running through as well. Good. More bluish, bluish tint to color up the top here. I'm running through this mixture, doing its thing. Paper is slightly, ever so slightly damp to enable just more softer brush strokes as well as you can see. I'm just getting a bit of darkness here for this building. And this building as well. You've actually got some light showing through this one. There's not much need to do for that. But you can just, you can still while the paper is wet like this, putting some very light details and the soft, wet and wet details that allow you to create a sense of depth between all this stuff in the front and then in the background as well. So we have some sharper watercolors afterwards. Once all this has dried, this will help to, I guess, bring parts of the scene forwards. Bit more spray over that side. It's just it's just like grayish color mixed with a bit of purple or cooler color left on the palette. I also have some brown in here so I can mix up a more warmer gray like that. Pop into the warmer gray to in some areas. Okay. And you being quite deliberate in terms of what you're doing, you're going through and you're making sure you're you're also leaving out enough of the yellowy color as well. The prior wash. Okay, So you've got a few different colors in here. Cutting around these windows again, like I was saying before, we want to I want anyway put some nice warmth coming through these windows, like a sense of light. And you do have lights here on parts of the buildings like these areas which you want to cut around. I'm just leaving leave some imaginary lot I suppose here, the base of those buildings. Well underneath here anyway, the therapy bit darker like that. But notice how everything kind of just blends together. What you want. Alright, let's give this a little dry. 19. Streetscape - Dark: Alright, time to get in all the darker areas and make these buildings really start to pop out. So I'm going to be using a flat brush and a mop brush to getting the details of all these buildings and also some of the reflections. And I'm just going to pick up some neutral tint, as well as ultramarine blue and mix these up. Here's some ultramarine got a bit of neutral tint here on the side also got a bit of brown here as well. To warm up, warm it up a little bit if I need to. But we're just basically looking at a cooler gray I think to start off with, let's test this out. I will just see if I pop in a bit here, that building yet, that's okay, That's alright. I can solve for that building in. I want to really try to get this all in one go. This is what you call it this building and everything in here, this large shape. Rather than have too much going on in here and having to go back and forth. I'm just going to pick out some shapes that I want to indicate. That could be the side of a building or something here. Just strategically looking over in e.g. this part here, I'm going to darken this down here, leave part of that, expose that side of it there. What else have we got? This actually this squarish looking shape there, which I wasn't sure what it was before, but it is a sign or something like that. They're okay. But also here what you find is that you do get these on a Windows coming through. So again, just using this paint to cut around, cut around and create a bit of contrast. The paint I'm using is still about 50% water in here. Okay. There's not much. I'm not using a really thick paint because again, it is quite a dark color that I'm using so you can dilute it down a lot without without it to appearing to week. Okay. Now the buildings in the background here, I'm just going to just indicates some out in the back. Like that. We'll just add in a bit of water at the edge like that so that they kind of blend into the sky or something there. Okay. Base of the buildings. This is where it gets a bit tricky because we want to leave out some of these warmth showing through. Okay. Just cut that off. Like there. Maybe a bit darker as well. Some areas, just a little bit extra darkness. And also remember that we will be going through, I think, one more layer afterwards to continually dark and this add some details as well. So this is just to get in your mid tones and the silhouette of these buildings. And look at this as what I'm talking about when we leaving out that previous wash their can't get rid of that one, but there's a couple of windows I wanted to include like that. And these little bars or whatever here, running through, creating a bit of a shadow here. I'm like that Just some of this doorway or whatever there as well. Okay. Good. I want to create these reflections in the ground for stuff like the windows and the door is open doorways and things as well. Okay. So that's why I'm just leaving some open like that. I'm going to just spray this side down a little bit so I can come back to it in a moment. More neutral tint, more blue. Blue, some gray as well in there. Let's have a look. All right, so we got this building here, that just the backend of this building. And k. We have this building here in the foreground as well. To just sort of showing through underneath these buildings, we're going to have some darkness. This side of the sides of these as well. Here. Okay. More of these buildings, indications of these buildings. And I can I'm just trying to keep some of that light showing through. It's important. But still have enough darkness there to join up, join up all these buildings to have this large shape. You've got this window there as well. And a lot of this stuff becomes pretty pretty dark anyhow. But I can cut around and create a window like that. Like that perhaps is another one here in the foreground. That just this larger window shape I can cut out like that. Okay. The underneath side of the building there as well. Okay. What else have we got? Again, just some more of these little reflections from the buildings, I guess running down the page. I mean, it's still pretty dark in here, I have to say, but you do find that there is a little bit of these reflections running down the page and running down into the ground as well. Okay. Good. Little bit more darkness, especially near the base areas of some of these buildings because I'm going to put in some shadows just connecting everything up on the ground. And we'll do the details of the cars at the same time as well. Figure here, but we don't have to bother too much with the figure just yet. Okay. So flat brush, good. Old flat brush. Pick up some darker paint. Same neutral tint color. Neutral tint. Pretty dark. I'm going to dry that brush off and let's, let's see what we can do here. I will draw that brush off and just getting some large brush strokes like this, like that running through that. Just these bits running down the page like that. I'm not only that, but we've also got areas like all the cars, e.g. this car here. Now I can just getting that sort of reflection as well underneath the car, the darker bit underneath there. More black, I think would be good just to more paint. General. We'll hear I know will there and the area underneath the car like that, they're just the sides of the car and the dark reflection of parts of it like that. But making sure we're still cutting around the headlamps. Okay. With that, just a bit of darkness. This is going to help to separate out separate out the light running from the headlamps. Okay. Let's get some more here. Really dark color. Trying to be quick with it as well, not over thinking it. That's a sort of base of the car and it is darkness here as well. It's always good to find ways to join up your scene. Join, join your subjects together. Okay. You should be darker and the wind screens. So I'll just darken this windscreen and literal right-hand side of the car is actually got a fair bit of light on. It still looks decent. To have a look at this one, this car here in the front of, forgotten about it, but it does need to have a bit of darkness or something, their tail light sticking out the back as well. And dark circle for the wheel. Just going out to the scene, really. Just darkness running down the page. Color as well. Seemingly loose, something like that. So making sure that it comes forwards a bit. Whatever you put in there. A smaller flat brush might be good for some of these other shadows. I'm thinking, you know, even with some of these other shadows, a little bit too weak in areas. Let's have a look. This one here, I can probably get in a down brushstroke like that. Well, just join that up and touch. The main thing I want to do is really preserve that the sense of light coming through the center of the scene. So even though I do have some of these darker bits of color running through it, I don't want it to overwhelm. Get rid of the beautiful wash that we had there previously. We look at this car, bit of darkness through the window like that, that you are using a larger brush for this. And this we'll put in here as well. So that looks like a car off in the back background or whatever. Just some more color on the pavement perhaps as well. But as you can see, it's just this reflection running down the page, which marries up with the windows and stuff like that up the top. And a smaller brush and see if I can indicate more details of the cars and bits and pieces like that. Some darker color. Okay. If possible, I'd like to join all this up while the paint is still wet. That's a windscreen. Some sort. They're just the connective connecting bit behind the car and they're there. Underneath the car as well. They're there. Okay. Can I do for this one? I can darken off this windscreen a bit here in the back to help bring out the car in front. Okay. To be very careful with this stage when it starts looking good to remember to just leave it and to preserve the preserved the details in here as well. At the back, you can see tiny cars and bits and pieces like you don't want to over do any of this stuff. At the back. It's just enough detail to indicate what's there. We'll hear darkness underneath the car that just a quick little line like that. Darkness underneath this one as well. Okay. Let's give it a quick dry. 20. Streetscape - Final Touches: Alright, now for the finishing touches and all the little details that we want to add on. I'm gonna be using a really dark color. It's just neutral tint. I've also got some black here as well, maybe some purple, blue, and brown just mixed together that can create a really nice dark color as well. Okay, and we're going to we're going to put on the finishing touches little details that I wasn't able to imply before. I'm just thinking where exactly to start. I've got a few things we can do. I think Let's start with some of the windows, maybe like something like here I just put in the window frames or something like that. Could be a window here. I don't want to be too neat and tidy with this as well. It's also good to indicate the sides of the buildings like that. Here I can put on a little bit more indication of this door opening like that. And some more of these bits and pieces of this gate or whatever here. Um, it's really just drawing the final bits and pieces in little details that you want to include in this scene and even the car here, this wheel. I can pop in some details of the, of the car like that. Let's have a look. What else do we want to do? Part of the sidewalk even like the indication of where it starts and where it finishes here. Okay. Some darker bits in here as well. And I also find that it helps if you want to add in another layer, doesn't have to be a full layer, but another layer in some areas like e.g. here I might want to just go over the top again and dark and this building here in the back and it's like a, another part of the window or something as well. This creates another layer of complexity that we've also got a lot of these darker bits running through, like this is some kind of handrail or whatever there. And here we might have a bit of darkness on top of the doorway. I'm just picking up picking out some details that I wouldn't want to say Miss been left out initially. And we can bring back some of that complexity and use it also to cut around the fingers. Downward brushstroke. I also like these fingers here in the foreground and they're gonna be pretty dark as well. So I can just get heads of them here and just put on an indication of the body's like that. Okay. And legs he is one leg here, the other way here. Like that. Someone just walking across the road. And of course these figures are going to have reflections as well. I'm going to use this flat brush to create that. And let's see that these legs joined together a beaten run down the page like this. Here we go. Let's have a look. We had another figure here, leave or another one out in the back actually here. Trachea need to separate this one out a bit, but something like this maybe. Okay. Okay. We have one here. Walking cross the road. Darker paint. Front leg here. Back leg here. Again, the same deal with the reflections. I'm going to pick up that flat brush joined the legs up a little bit like this and just get that downward reflection like that. Good. Now the figure here, the heads are sticking out and leg. Let's kinda walking, almost going to walk across the street on that side of the road. Can detailed bits of this car now. More of these buildings and just keep going in and finding parts of the buildings that you want to imply further. Okay. In color with dark and off this one, a touch in the back. More dry brush strokes on these, this one to the left anyway, create a bit of sense of dimensionality to the buildings. Do you want the buildings to join up a little bit? The ground here as well, just to complete everything. This is again, just a bit of improvisation which I'm using for the Windows indication of these windows like that. Another one here, perhaps. This one. Deny this could be a window or something. This car here, it's gonna get that. Look a bit darker. We'll darken more on the edges as well here. Little bit more than usual. See if I can create some extra contrast and bring out the light better as well. Important to train a blend with everything. And even these buildings at the back of our eye can move almost lost some of that magic out there. I'll use a bit of gouache to bring some of it back. In a moment. I'll just darken off a touch here there. Now. More detail here. Picking out a few bits and pieces. Okay, a little bit of white gouache. To bring out some highlights. Start just here with the headlamps, headlights of the car there, and see if I can get myself in a bit of this. A little bit of that white. Just bring back some of that light like this. This is the interesting thing we did talk about this rain or whatever, I think maybe if I could just flick a bit of paint on. There we go. This will make it look like potentially it's raining. Flick a bit of gouache on that area. Like that. Here as well. Kinda looks like it's catching catching bit of that rain. If I can potentially just exaggerate a few of them like that. So you can see. Okay, so have a look. What else do we want to do? A bit of light here? On the shoulders of this figure here is we'll just have one less shoulders from the background. Here. These two headlamps as well. Oops, downward brushstrokes here. Now the figure here can bring that figure out what's more, more of that Gouache. This car here as well could do with just a few little strokes of gouache as well. This one. Good. Every bit of yellow running through this would be good as well. Just a bit if you'd like yellowish, pale, yellowish light. That there's things you can also do in the background if you've missed out a bit of light you wanted to bring back or something like that. You can go in and drop in some gouache in areas, that kind of thing. And we are finished. 21. Trees & River - Drawing: Alright, let's start with the drawing. And the first thing I'm gonna do is put in the horizon line. And if we look at roughly where the horizon line lies in the painting, it's about, it's just above the halfway point. So we want to give enough sky here. So I'm just putting in a little line of line where that is. Okay. It doesn't have to be perfect but quick loo indication like that. I want that line to be pretty soft as well. Now, what you can see in the background we're going to go through and just quickly do the background is some hills coming in from the left. Hey, goes up again. You can just improvise and change around some of these heels a bit as well. But we do have some of those hills in the background, as well as some hues closer towards the foreground that just go up. Okay, disappear off to the right-hand side of the scene. This one just comes out like that. Okay, so we've got two sets of mountains, one closest to the front. Okay? Kinda let this larger one here, then one in the back. This is even over here. You notice there the grassy plains or whatever to the right. I'm going to indicate going to just indicate where they are. Okay. Right right here. And make sure it comes out. Where does it finish off on the side of the page. Say roughly about here. Okay. So we want to make sure there's enough space, I guess at the bottom for the water. So just bit of that grass there on the right-hand side. I'll just get rid of this, just make it a bit more cutoff, more like that. There's also, you can see these little looks like there's a little fence or something just running around in the distance. Hard to say. There's there's like a wall. Just kinda see a little wall there. I'll just indicate that as well, more trees here. But really that's about it. Now we've got this, this, this lake and then the river or the water just running down towards the page. And I'm going to just put in a little area where this tree is and where the rocks are as well. I'm sort of coming out that just putting a few indications of the rocks that they finish off roughly in the center of the page like here, you can see this large rock. And I'm going to put in some little bit of detailing for the rocks. I'll just pick out a few that are like you don't have to copy the rocks exactly, but I like that. Okay. There's even ones here. So just like in closer to the water like that touching the water, there is another one, looks like in the water as well. About here. The k, This one here, just the rock there and then again bit of the darkness and the light source is coming right from the back. Okay. I tend to just pick out a few of them and start to repeat the structures of the rock. There's another one here. Look, there's another one here. And this is part of this larger rocker. Suppose here. And another one just coming out towards the front of the scene. Always make the rocks a bit bigger as we go to the front of the scene as well. It just helps increase that sense of depth. Okay, so I've got a few bits and pieces here. And have a look. The darkness inside here. And this rock here pretty dark, of course. Missing where there's rocks forbid, I just wanted to start putting you in a bit of this tree shape now putting in the trunk of the tree and I'll hold my pencil right at the back to keep these fairly loose coming up like this. Hopefully, this tree just disappears off the top of the scene like that. And again, just getting in a few of these branches. And if you hold the pencil right at the end, you can do a great job of just getting in these screws looser style branches, but they actually look more realistic if you do it this way. Here's some more coming out to the right that like that. In fact, it's actually, the branches are actually a little bit higher for this right-hand side. So I'm just going to rub that one out and redo that sick. So the probably just around here, that here I just want to make sure that the mountains is more or less visible. But again, you don't have to put the limbs out and the exact same way as they appear in the reference photo. You can change them up a bit as well. The great thing about branches and trees, it does not have to look exactly like as you see in the reference lot of wiggle room. To make them look how you like the trunk of this tree. And this tree is actually, I think it's one of the most important parts of the scene. And the shadow of the tree running down towards the front as well is pretty crucial. I just want to indicate a little bit like that. I'm still trying to figure out the light source exactly, but towards the right. Sorry, towards the left tree shadow coming over to the left like that. And we can start putting in a few of these smaller rocks here as well. Just think of them as just shapes, a little boxy shapes that look just figure them out as you going. Okay. They're there, they just overlap with each other and I just draw them kind of overlapping and interacting with one another. The most important thing to do so that there's a sense of this continuity. The continuity shapes here. A lot of this stuff. I think I'll be using some gouache over the top as well later to just make it look, bring out some of these highlights. But a few of these rocks that as long as you have a few of these smaller rocks in here, that's gonna be great. I don't live. My, I do lift the pencil off the paper, but I try not to for a large part of it so that I can get in more of these little shapes of the rocks and stuff and quickly indicate a few of them here and there. K Let's look like just go off near to the water. Like that. The water itself is very light. You've got to remember that apart from the shadow of this mountain that runs underneath like that, most of the water is actually pretty, pretty light running down here. It's interesting. I'm going to have to get in some sharper reflections and things in there, but just marking out a bit of this dark bit underneath the mountains. Okay. What else have we got? So still trying to figure out this shadow nicely as well. I know one thing I wanna do is maybe put in some flowers or something just growing some scrub growing around that area. And some rocks also underneath the tree you can see pick out another shape of a rock like that. They're sharp edged rocks out that there's lots of them. And it's interesting because the shadow also interacts with the rock. The tree has some details and you can see that the roots, what do you call the buttress, the trees. The tree just sinking into the ground and you can again just scribble away a bit here to indicate some darkness and shadow at the bottom of the tree, the base of the tree. Notice also I go quite dark on some parts of the tree to really make sure that it sticks out. More. Sticking out more like that. The more time you spend on the drawing, the more I think, more detailed and precise your painting will end up looking. And I find even if you go pretty dark with the pencil, the pencil marks, they start to dissolve a little bit in the water. And that's why often people just don't see those pencil marks running through. So really it's just that tree. You've got that shadow running like that. Little indication of that shadow running towards the left. I mean, I'm still yet to work out all of those shadows, but especially all these grass and stuff here, we can figure that out as time goes on. But I think we are ready to get started with the painting. 22. Trees & River - Light: Little mop brush. And what I'm gonna do is firstly, getting a bit of yellow and why, why am I getting in yellow? I mean, there's not really too much yellows and year anyway. But I think it's important because we have lots of light greens here on the right-hand side in the grass. Kind of yellowy bits as well in the grass. And if we start with the green, it's gonna be very hard to lighten it, especially if we're using a darker green. So we want to mix up, want to make sure this wash very light colors. So 10% water. You want this wash to be just lots of water in there. So I'm just picking up water. I'm putting that here on my palette. And I'm going to pick up bit of yellow ocher you can also use you can also use yourself a bit of other yellow color as well. I do have some of the quinacridone gold color. As long as you've got a nice warm color. I might use a bit of this more that quinacridone yellow color also in the corner I've got some of this hansa yellow. I like to vary my yellows and just have a few bits in here, just keeps things interesting. But the most important thing is to keep this water. This bit of paint here, about ten per cent paint, 20%, 90% water. Just going in here now and look how lifetime I'm going into this section. That's just the yellow really. It's just a bit of yellow like that. All through that section. Yellow up in the corner. Even in the mountains. Funny enough. I'll just put in some yellow back then. It might look funny at the moment. But what we can easily do is start to actually mix in some other greens and turn this whole green area green later on. Okay, but it creates an extra layer of depth and interests. By doing that, I'm also gonna go over to the left-hand side. We've got all these rocks. Let's just drop in a touch of yellow here. Okay, even on the trunks, the trunk of the tree, I might put in a little bit of brown, tiny bit of brown in there. Or just a grayish color, grayish brown color in the trunk of the tree like that. Very light. Remember, you're talking about again, just, it's so light, you can barely see the color. It should look weak. You look at it and you think to yourself it doesn't, it doesn't really look like anything. But once we get into the rest of the details, you'll see what I mean. So seeing how I'm just going over all these little branches, I have not drawn all the branches in the tree. I've just drawn in some of them. The big trick here is to make sure that everything this, all this wash, this color blends in with each other. And if you notice on the right-hand side of the painting, you should still have a little bit of wetness at the bottom of the yellow that you've added in on the right-hand side. Little bit wetness so that right-hand side of the painting is still alive. It's still you're still able to alter and add in some color. Can you kinda got to work quite quickly in this section? Let's have a look. Now what do we do next? I think what we'll do is start to put in some of the sky. I'm going to pick up some cerulean blue. Cerulean blue, or if you've got a dark blue, just dilute it down a lot and drop a light wash of blue in the sky like this. Okay. Nice wash of that light blue. And try to use just a few brush strokes. You'll see some of it start to blend a touch into the, into the trees and into the rest of it as well. But just try to cut around it a touch. Okay. If you get some blending into the mountains, don't worry because remember, we're trying to make a green color in the mountains anyway, but this guy needs to be really liked. I mean, same as what I was saying for that same 90% water, 20% paint. And you just want to get such a light indication of that blue in there and then move on. Really just move on afterwards. Okay. Now, I'm going to carry this blue further down here into the water. Okay. And you'll notice some of the mountain area like seeping into the water. That's okay. Just leave it. All of this should just be wet. Pretty much. Okay. And we have a decision here to make in terms of the water. I am thinking I will actually make it a tiny bit more green in the water. And it's great that we have some of these yellow here. See, I'm just touching onto that yellow. Just touching onto that yellow and it seeps downwards into the blue. Seeps downwards into the blue, let it do its thing. And working from top-down and pick up, pick up a little bit of green as well, drop that green into the blue like that. So we've got to really just want to make a sort of turquoise see bluish color here in the water. Green and the water. There's even, it's kind of like brownie greens here, like the rocks at the bottom of the water. So we're not trying to put in the details of it, but we'd all we're doing is just making this all joined together in one big wash. Okay. That right, Great, great. So we're getting there. Okay. If you've done this the way that I've done it, everything should look like pets joined together in terms of the water, the mountains, everything. It might look a bit messy, but it should all join together nicely. Okay. Sometimes I carry around a little spray bottle just to help me to keep the paper a little damp. Because for this next step we're gonna be doing something really fun. I'm gonna be picking up a little fan brush. And if you've got a fan brush, you can use the little rigger brush, tiny little brush that doesn't make many strokes on the paper. And what we're gonna do is we're going to pick up a bit of green, a little bit of green on the palette. Just pick it up and we're using again, a really lot mix of this green. And I'm going to go into the background, these mountains and just drop that in there. Okay, Now, this is probably around to say, but I reckon it's roughly 20% paint. Now it's quite a dark paint, this green. When you drop it in, you're gonna get these nice little, as you can see, nice little sections where the paint spreads out, okay? And the big goal here really is to just get in a darker green section here for the trees and things off in the background often like to mix in some blues and purples there as well as you can see it a little bit of blue or purple, just dropping that in here. Also, I'm skipping over parts of the page, tiny little parts of the page to which allows me to leave in a bit of that yellow from that previous wash. There's so many different colors running through here. Just little touches. Getting it, mix and blend in, doing its thing that you also want to make sure you picking up the paint and you dry off the brush a little bit as well. And that will allow you to control that these brush strokes so that it doesn't have too much water in your brush and cause that paint to spread too much. Can you still want it to look like a mountain shape here in the background? And the aim is to of course, make sure that this mountain or whatever here in the background is darker than this area here where we've got to say, but lighter sections of grass as well. And while the paper is still wet, I just keep on going into this area and adding an extra contrast, extra little sharper bits. Notice I'm picking up darker paints as well. Now I'm going to be more confident to drop in some darker paints the bottom of the trees, can you see here there's just all this darker section in here that you can pick up some darker paint and just drop in at the base, let it figure it out. Okay. Just do its thing like that. Anywhere. You wanted to just find some darker bits of error, darker bits of paint. Contrast is dropping that little bit of extra darker paint in there. It might look a bit funny at the moment in terms of the paint spreading, but just leave it with just remember we're only getting in soft details here. So I just like to take a bit of my time for these. And again, if the paint starts to dry too quickly, you can also spray the page down to touch. Here if we look at the little reeds, reeds, but I guess near the edge of the water we've got some darker sections here. So I'm going to just outline a bit here. Look a little bit of these darker spots like this indicating the edge of the water. So this is just going to melt in like that. Here. Here. Extra darkness there. Okay. The grassy areas as well. I'm just going to flick in a bit of this. Tiny little bit of this paint in here, getting a few little indications of this stuff. It is white and yellow mixed together. Some green. Okay. Just some new little brushstrokes running through in here. Okay. Okay. More of that darkness there in the background as you can see. Good. Fantastic. Time to work a bit on the left-hand side, I'm going to drop in a bit of green, some darker green in here, and just flick a bit of that around. But the main thing we also want to do is just indicates some of these glossiness here. So I'm just picking up into that, a little bit of yellow and green mixed together and flicking in a bit of it through here near the rocks, especially on top of the rocks as well. Some of these rocks little bit greenish to this mossy like look on them. So I'll darken them a nice also around here. They're pretty dark near the foreground. There like that. And the trick as well as try to leave some of that light coming off the rocks. That light. The rocks also have this grayish tinge to them in some of them as well. So I'm just dropping in a little bit of that gray. And like I said, the detailing is not really a thing in this. We're just putting in the light colors and trying to make it look more interesting. In terms of shifting the color variations around. You shouldn't really have much detail in here. We can do that a bit later. I tend to just wait for the wet on dry effects light off for that. Okay, this is all just wait and weird effects. And here we go. Now, let's have a look. What else do we want to do? I think this little shadow here is really good. But I'm going to continue to just work on spraying this area down a touch and adding in a little bit of this darker green here, little bit of darker green here. And layering the greens over the top of each other to create some little bits of contrast. Okay, We're spraying it down. It actually keeps the paper wet so you can continue working into it wet into wet. And you don't have to you don't have to rush. Okay. So continuing, we can get around stuff and this is also a great opportunity for me to get in this little shadow of the mountains. Downward. Little reflection in the water does look sharp or actually in the reference photo and I may change it around later. But I'll just drag a bit of that color downwards for the time being and just see what happens. Yeah, But again, I might change it later. In the water. You can see there's also a little rocks in there which we will indicate later on. You want all of this to look like it's blended together, kind of cohesive, but there are still some soft separations. Okay. Left-hand side. Really want to keep that left-hand side pretty pretty light for the most part. Okay. More yellow in here. Green, just flicking, flicking some bits and pieces. And as you're doing this, you have to make sure as well that you're leaving some of that yellow behind. It might look sharp and a bit odd, but you have to leave some of that yellow behind as well. Otherwise you're going to eliminate that light source and it's going to look a bit funny for letter. Okay? So this is looking decent at the moment. A little trick that I like to employ is I use a little knife, blade. I can actually scratch off a bit of paint. Might not be time yet. Got to wait round about here. And I can get in indications of these trees or something like that off in the distance. Yeah. I mean, look too obvious but just some little marks and scratches out in the back-end. This is, this could definitely be a little tree or something that another one here. A little bit like that. Once this bit here on the left dries off, you're gonna be fine. But you should have nice bits of blue in the water mixed in with the green just all joining together. And really, I mean, ideally I like to leave these to dry more or less naturally. Then start working on some of the darker bits in here. Okay? And we'll give this a quick little quick glue dry off though. Quick little dry off. 23. Trees & River - Shadows: And what you can do here as well if you've tried the paper slightly, again, just scratch off a few little indications of some grass texture. Okay. Little bits of grass here, especially around the rocks. I find really great to just indicate some of this stuff. Because when you scratch it off, what it does is that it creates a bit of this lighter green. Okay. You can also use a credit card or something like this as well. I just use this pocket knife because it is creators the sharper edge on some areas. I'm not going to get it in all parts, but you're near the tree, especially I do like to have a bit more stuff going on in there. You'd be surprised how much of a difference as few little sharp marks can make to create this. I don't know this sense of texture. Not only that, but you can do this sort of thing where you lift off, scratch off little highlights on the rocks. Okay, I'm not gonna do it really in mind one, i'll I'll use some gouache for that later, but mainly as you can see, just these little bits of grass. You can just scratch off the surface of the paper. This bit here is also a bit still hasn't completely dried. So I can go in there and scratch off a few little indications of bits and pieces as well. That near the, near the bank as well of this river. You can just scratch away at the base of it a touch too. Okay, good. Alright, so now what we wanna do is just start putting in, start putting in some of the dark bits of the painting. I'm using this brush here, just this little flat brush. First thing I want to start, we thought arc anyways, the tree, if we start right at the top of the tree, will pick up. Looking at the same has got quite a dark, quiet, dark tree. And it's kind of like a brownish color. I'm going to pick a bit of brown, ocher, bit of burnt umber. Mix that around with a bit of yellow and a bit of neutral tint, and you can just use brown, but I like to mix in a few different colors in here so that we get some interesting blends. And look at that. I'm just going to go straight into the tree like that. And remember, this tree is pretty dark. It's pretty much the darkest thing in the painting besides the rocks. So I'm using pretty much 50 per cent paint, 50% water. And because the paint is quite dark, there's really no need to use any more paint than that. We're still want it to appear transparent. But we do want it to be dark enough to stand out. And this is what I mean by using multiple colors in this tree. I've got some lighter bit of brown color there or a bit of yellowy brown color. I'll just let that intermix with everything like that so that we've got a darker tree. Now as it goes into the, you can see the sky, these little branches using this small flat brush, I'm going to hold it by the edge and dry off the brush and just start indicating some of the branches, like these little branches. Also make another one coming out here. Okay. There is this one here as well. Quantity dark tree. And just display those branches out. You actually come all the way towards the other side of the scene. Okay. Little sporadic movements like that with the brush that you skip on the paper a little bit, it's fine, but it's just important to make sure that this is quite dark. These branches, you doing them fairly dark so that they stand out against the background. Okay. I'm coming little bit further down here as well. Let's just get this one in here. Just another branch that you can also use a small rigger brush if it's easier for you to detail the small branches. For me, I just use the flat brush like the look of it. Actually. I'll go with that. Stick with that. Okay. There we go. Moving down the page, moving down into the trunk, further down the trunk of the tree. Here, we have a situation where we want to get in the this little bit of shadow here as well. It's a slightly sharp shadow, but this does have some softness in it as well. So I'm just going to spray that area down slightly. And I'm going to pick up a bit of really just going to pick up a little bit of green, dark green color for the shadow because the shadow is like a darker green, slightly darker green color. Okay. I'm going to connect that shadow up with the tree. As we move down the page. Can make that shadow up the tree and the shadow is joined together. But the shadow is lighter than the tree. So we just have to be careful. You don't go too dark There. It comes down like this and move it to the side there or something. It's almost like the branches of the trees also form a bit of a shadow that it just disappears off to the bottom of the scene. Yeah. Okay. There we are. Good. And believing in some of that previous wash as well. Now, while we are in this area, I'm going to pick up bit of black and a bit of brown. And let's start putting in details of these rocks. Okay, I'm just using this same same sort of round brush. You can see flat brush and going through an indicating the darkness on some of these rocks. And the way you do this is just remember where the light source is coming from, right in the back. Right in the back. So you're going to get a bit of light touching the tip of some of these rocks. Top of the rocks, but the bottom of them and the front of the rocks where we are looking at, it's going to be darker. So just pick up that darker paint, drops some of it in. Okay. And I'm gonna do my best to detail some of these rocks. We get closer to the front, the rocks actually become more and more detailed. This one here, there's one larger one here as well. Catching onto the light. Brown here. Here. This one here, shadow behind that rock as well there. You try to just join it all up, the shadows so that they appear as one big shape. Just one big shape. Good. It's actually a bit of darkness in between this rock or something here. So I'll just emphasize that again like this. Some of this stuff you have to, you just have to make up. There's so much detail in here that you can only get in so much, especially because we're working fairly quickly. So the way I do it again is, as you can see, just joining up bits and pieces. And if you've lost some of those highlights, don't worry because we've still got some gouache and we can bring them back later. I think it's more important that you've got nice cohesive wash running through all this scene. I want some more beautiful gray color or something. Maybe running down here as well, the sada that rock here. Okay. Good. And again, little opportunity I think anyway, just to pick up some more yellow and just flick some of this color in here just to get some grass and some indications of grass. Individual strands of grass maybe going near to the rocks. And I've lost a lot of that vibrant green color actually for the moss on the rocks, but it doesn't matter to me. Look at that just a bit of Be the color running through there. And texture, a little bit of texture. Now whenever the right-hand side, I'm gonna do the same up the top here, just a few little brush strokes to indicate some grass and things running into this area because we actually had, I think we've just lost a bit of detail. And then just flick a few little, few, little quick little strands of paint, little brushstrokes running through their dry off the brush does help. Okay. Good, good, good. I will continue doing this as we go because that part, I mean, all the paints pretty much started to dry off. So you get these sharp looking shapes running through, creating a bit of interaction. Okay. Let me work a little bit more. Actually pick up smaller brush, a little rigger brush. And I'll figure out some of these branches as well here for the trees you can see just a little bit of that, like that little tree branch like that. Holding that brush right at the end makes it so much easier as well. To get in some tiny little indications of the the branches, this small branches which can be just such a pain to do. But when you're using a little rigger brush like this, it just makes it easier for you so you don't need to overthink things. Okay. Good, good, good. While this is also doing its thing, I'll pick up a little bit of green, a touch of green paint. I'm going to flick a bit of it into the branches, like up here just to get in an indication. Sometimes also I pick up an old brush, mangled old brush like this one. And this just allows me to get in some little little messy tree leaves and things running through here without without upsetting too much of the branches. Because we do want some, want some bits and pieces going on in here. That just little indications of the leaves and stuff running through here and look at that Okay. Bit here. Of course we can go through and do the branches again and just add more details afterwards. This is good. Just to get in a little bit of tiny little bit of color. And make sure that these branches also come into the foreground a little bit. So in front of these hills. This will actually bring the tree forward to touch. Like this. Some more. Not too obvious, but sometimes the fewer brushstrokes works better as well. So you might do something like that. Okay. Good. Okay. Alright, so we are slowly getting there. Really, the last part of this scene is to put in the finishing touches, some little highlights and just extra details. So could it be to black and a little bit of brown? Mix them together and dry off that brush. And I'm just going through here and picking out some areas that I want to further darken here near the bottom of the tree like that. Yeah. Around the basis of these rocks. You really just using the darkest colors that the dock is color that you can make really just a bit of black and brown mix together for this. Okay. Here. I'm also going to bring out some gouache and stuff later on as well. So this is just to further detail, touch underneath here. Here. Noticed in the water as well. I'm just going to pick up a bit of a bluish paint, bit of ultramarine blue and just mix that in there. So I've got a blue-green sort of fellow, phthalo, blue color. And I will get in a little bit of this reflection, sharp a reflection or something in the water because I do want some little bit of sharpness in the water. And up here as well, perhaps touch of that underneath the mountains, just a bit of reflection of the distant mountains here in the water. Here like that. Running down here. You've got some tiny little, little waves in the water as well. We can see this, these little. You can see the direction of the stream running down like that. And sharper, sharper looking. Bits like this. Okay, Just quick little indications there. Here. Good, good, good. I'm just going to mix this up, bring it up into the mountains a touch so that it just joins onto those background mountains. Bit of darker, darker bits as well up here. Just more brown and black mixed together or brown and green mixed together like that. We get some sharp as sort of dark shapes running into the distance. This just around the trees there. Because all this area is pretty much just dropped off anyhow, so you can get extra darkness. Sharpness in this section up like that, of course is leaving in some of these nice, nice light areas as well does help. Here. Let's have a look at this tree. Good. Brings some dark, dark spots up into the tree as well. And again, I'm just trying to join it on with the ground to touch a little bit more areas. Okay. Darker here. Smudge that a bit like that. Okay. Just detailing the tree bit more and just detailing in a touch that there's just a bit of sharpness here at the base where the Kinects on with the water as well. Just redo some of this, bid, more of these few little brushstrokes for the for the grass things running up there. Okay. Just darken parts of the tree as well. I want to really make sure that parts of this tree appear darker and more set against the background. One thing I've forgotten to do with actually getting these mountains in the back. So just put in a quick indication of them now, pick up a bit of bluish paint, bluish purplish paint for this. And I'm going to just do it in a little indication of that mountain or something in the distance, really light color background. Then just carry some of it on like that. Join it up. There we go. So we need like that. It's also a bit of reflection of it in the water like that. Like this. Quick dry. 24. Trees & River - Highlights: What I'll just quickly do, I'm just giving everything a dry off. I again will pick up this darker paints. And because everything's dried, you can actually go in and put in some tiny little dark spots just with the darkest paint that you can find. To create details, small details in here. Okay, near the base of the rocks. Again. And try to use as few brush strokes as you can, even in the water you can see there's actually a bit of dark rocks and things just floating around in the water, which make a great, great little subject. Tiny little breaks here in the water as you can see. I'm just going to draw in the brush just a few quick little shapes. They're in the water. There's might be another one here and it's going to be another rock or something there or here. Okay. Like that. This other color as well. And again, I'm just going to get a few little restaurants indicating some of these ripples or waves running through the water. A bit. Simple, simple little. It's there. On top of this sharpness, sort of lighter sections of the water. The gouache is really good opportunities. Really good thing to do at the end, just picking up bit of white gouache. And I'll mix that in with a little bit of yellow, white gouache and a bit of yellow. And what I'm gonna do is just bring back some of the lights on these rocks, just in some areas of it, like here, here, here on the top section like that. Just bringing back a little bit of the small highlights near the black. You got to be quick with it as well. Just touch, Touch and Go really. Even near the trees, you can actually put in a bit of yellow on the edges of the trees. And that to me that indicates a bit of a sunlit side of the tree like that. This codon, the bit of the light just catching onto the rock. And inevitably because we've got greens in here as well, some of these yellow will actually turn a bit greenish as well. Now a biggie. Alright. Some more here. Little Rock Sioux, who knows what they are? Just little rocks and things. These tiny little highlights. I think this is just the most fun part of the painting. Just putting in these little sporadic bits and pieces in here can even use the gouache to indicate some tiny, some little flowers. I'll share to deal with that in a moment. But as you can see, I'm going around the edges of the trees just like that. And putting in a little bit of highlights and things here and there. Here as well. Just a bit in the corner. I'm even dry brush a little bit down the side of the tree to indicate some texture or something in there. Okay. Here we go with light. Back in the distance. We're doing is just bringing back a little bit of that light. That light the water. There. Some more here. Because that paint hasn't completely dried yet. You can get some really nice interesting effects running through here as well. Really wash, just melts, melts a bit into what we're doing. Brown would think, gosh, look at that and I'm just getting some of these grayish color that you see on the bottom of that rock. So you just bringing root incorporating a bit of that to create some of that grayish color. Don't want too much of it though. Let me just darken it off attach here. Okay. Here, a great thing you can do as well. And to a smaller degree is mixing a tiny bit of the gouache with a vibrant green. And you can get these little mossy like effects. You can bring them in slowly, bring them back into the scene. Okay. I'm just putting a little fence here in the background. I want to just indicate little fence off in the distance. More white gouache. White quash here in the back fence or something? Yeah. Just drawing in. I don't know. It just little fence of some sort. I mean, you don't have to do this. But decided I'll do it. Mine. Something like that. Okay. More lighter gouache in here as well. Cautious. A great way to bring back the highlights to go over some of your mistakes. The main thing though is just don't overdo it. You have to use it quite sparingly. And make sure you've got a distributed a bit around the painting as well. So it's not just on one part of the painting. These little, tiny little flowers, I had an idea to put in some little flowers into the painting. And what I do that Basically that I just spray an area of the painting down, say here, little bit of water. I'll pick up some of the squash and perhaps I want the flowers to be some, some yellow flowers. It'll be yellow in with the white gouache. And all I'm doing is just going to drop in a few little bits like this. Okay? And this could be maybe some flowers or something just on here. I'm trying to make it too vibrant as well, but just a few little bits like that. Just drop it in with little round brush. And you can really make it look like there's something here. Some little stems of some sort of these flowers. As you actually move into the foreground, flowers become a little bit larger. So you can just have that brush a little bit more. Don't create all of them the same color as well. Notice how some of the flowers, I've made them more vibrant and I've made some of them less vibrant. That makes things look more interesting and it makes the view as I move around as well, creates balance. If you've got all vibrancy, you too much vibrancy, sometimes it can just be overwhelming. So notice the flowers and everything you've gotten here. Sharp shapes, sharpness, and combined with all the softness in the scene, you can really get some interesting contrasts. Contrast. I just want to reduce some of these branches. I thought they, some of them look a little shabby. While I'm here. I will just have a play around with some of these branches up at the top of the scene connecting onto the tree as well. I'm just using some darker paint really for this darker black paint. Yeah. This tree is really important to me because it's such a important. I mean, it's so prominent in this scene, you can really see it just take up a lot of real estate in here, especially with the rocks. So that's why I'm actually trying to detail a bit more in the tree. The branches like that as well. Make this branch go off more like another sign like that. Balance is important. And ensuring that you have a balance of detail is actually quite crucial. I do think this, I should put another branch here as well, just to the left hand side of the tree. Like they're just notice perhaps it might look better seeing is there's one there. To make it look more symmetrical. Like that, but the branches are still going upwards. And notice how when I'm painting the branches as well, I'm using some dry brush strokes. I'm not just using I'm just using really light colors. And I'm not picking up too much paint, letting that brush feather across the paper so that you've got some texture and sporadic sort of looked to the, to the painting and also this little texture that I'm getting onto the side of the trunk. It makes it look like the texture, Bach as well, the dry brush technique that I'm using here, it just looks a bit more like the Bach and I probably should put some more brown or something into your forgotten about, forgotten about some of that brown that I've forgotten about. I mean, even the brown and the tree branches and stuff it could do with a bit of extra in their brown and black hole the branches. Notice how I'm also just holding that brush right at the end as well. And that creates create some more sporadic looking branches, natural looking branches. Here's another one. Another one coming out here on top. All those leaves that we were painting before. Yeah. Yeah, the branches just branched into these other two shapes to limbs. Too little tweaks like that. Getting to the point now where we've got a fair bit of detail in here. And I might want to play around with the teeny bit more of that gouache. It'd be more of this Guassian whitewash. Again, getting some white colored flowers as well in the foreground. Just pick a bit of that lighter white gouache. And C, Notice I can just do this sort of thing. And also that may be getting in some of the stems, stems using a dark color. Something like this little stem of some sort. Like for these flowers. You don't have to do it for all of them, but you can just flicking a few of these, like these few little quick stems, I guess a quick and easy stems just to connect it up with the colors of flowers or whatever. Here's one. Here's one. Here. They're put into a bit of yellow to create a bit of a more yellowy flower here, maybe. I'll do have a bit of this pinkish color. I can just drop in for a bit of a pink one as well. Light pink or whatever. Yeah. These are just a quick little addition. I mean, they're not really something that you see in the reference photo, but I just wanted to add some of this stuff in here. And the pink is, well, I think it was good because you're nearing to a kind of complimentary color with all the green stuff here on the rocks. Just dropping in a few little indications of this, remembering that near the front of the scene as well, you've got more larger shapes and things so you can go get larger with the flowers and things like that. Okay. Gosh is fantastic. It just brings back some details. Some more. White. You're trying to create a bit more continuity with everything here. Get it to just join on a few little lines of sharp a white just running through some of these bits as well. Gouache running through the water, just dislike sparkle of the water. I guess that sometimes comes out and you can see bits of it like foam and things as well. So just over the top, I thought I would do this in some parts. I mean, even in this tree I thought why not just getting a bit of the highlight on the tree, then just a bit of the branches going up with as well, not too much yellow and a bit of white. Again, just on the side of these branches and tree here gives me this sunlit looking like effect like this. Nearly there. I think we're done. 25. Venice - Drawing: Okay, let's get started with the drawing. And I do want to make a big modification to this particular CNI. Actually want to make it taller and improvise getting a bit more of that tower and also show some more sky. So I will actually raise the buildings. So let's just put in the base of the building monopoly here. Roughly about maybe here. And this is going to be interesting. Okay? So I'm just drawing in a bit of the base of the building, roughly where the buildings touch the ground. And over here I'm just doing a little bit of scribble in terms of the building's off in the background. But we of course, have this one that's running around the center of the scene or the palace itself, right in the center, and then disappears off like this. But I actually want to get in a bit more of the sky. That's one of my aims here, just to, just to make it look more, just to shorten it down a little bit. Okay. Let's get into it a bit more of the backend of it like this. Remember, this is just the box. If you think about it, it's really just a box. Something like that. And what else do we have here in the background? We've got this kind of dome-like shape out there. This, I think this is a cathedral actually, there's a couple of bits over here. Then I'm just going to simplify down like that. Okay? Like this here and bottom parts here, like that. The thing that a bit across to the left, this tower. And the case is going to be tricky one we want to make it go further up. But I want to make it also a little shorter. So that I've got a bit of the top part of it in here as well. Something like that. Let's just improvise. Yeah. Okay. Let's just put this in. The just thinking of it as a triangle and the bottom part is like a long rectangle. Okay. Got it. Sort of in there. They're just bring that down to the ground off, straighten it up a little bit as well. Because really take photos. Sometimes the edges of the photos get warped. And so that's why this building kinda looks like it's coming in on a funny sort of angle. That we've got a building that's running in front of it as well, roughly here. So I will add something in like that, right? A lot of this stuff we can, we can continue to add more details and bits and pieces as we go afterwards. Okay, but I just want to get into the basics of this this tower. There we are. That's a tower here over in this side. It gets a little bit tricky, but there's the smaller buildings. And I just want actually comes up a beer. It doesn't matter so much. I'm going to just simplify a lot of these buildings off in the distance. The main attraction here, basically the palace on the right-hand side, is a window of some sort like that. They're just getting a bit of the loops like that. Yeah. This part as well, like this. Then here as well, this is roughly where the, the, um, he's a little archways are underneath. Okay. It's gonna be an interesting one. There's one, yeah. Try to simplify as well. Down like this. There. We've got another bit that just curves up until this part here. So that's one archway like this can bring that down into another column. Like that. Comes up again like this. Okay, then comes down to yet another column like this. Straight down. Comes up again and down out of the scene. Okay, so we've got some nice little columns here. And the great thing is that we've got people and all kinds of bits and pieces happening in here, keeping it nice and busy. This is y. I'm just going to put in some little indications of figures because the legs aren't a huge deal at the moment. But I just want something going on in here because the background is actually going to be pretty dark inside this section. Okay? Maybe that's another one. And I get that pole coming down like this. Okay? This one. And this, and this is one of the trickier parts to draw, I suppose, because you're getting everything to get smaller as we go into the background. Look at how small it gets. A little pause. You can barely see what's going on, off into the distance like that. Okay. Some people Let's get some more people in running through or moving through this scene. There could be someone just walking here, another person walking into the scene. It's a busy day and there's a lot going on in here. But we have in quite a few details. What I wanna do is just put in this second layer. Now this is tricky. You've got like these circular, like if we just simplify it down, we've really got these little archways up the top here. Okay, come in. We can shape these up better with the watercolors afterwards. But they're kind of these, as you can see, just these little arch archways. Okay. That it's down like this. Oops, another one here. Another one down, up, down again, here, up and down here, again, and up and down again here. Okay. Like that. The rest of it, I'm pretty sure we can just improvise later on, just get it get it in with the watercolors. We're going to be this Mark, few of these marks up there here. And of course, we can just put in some of the some of the fence here. The railing. Okay. Thanks. That's quite important. On this side as well. We've got the same sort of deal where you've got these little archways, but they come up like this on the side of this building. That it's kinda just a bit repetitive pattern as you did get on the bottom part as well as smaller and smaller until you can't really see what's, what's going on. Here. There's a window as well, the side of that building. Another one here. Another one, another one there. And test stick here. We've got a quite a bit going on in here. Actually raised the heart of this roof a little bit, just trying to redraw it on there. There's a crowd of people I like calloc, sort of formed, joined on in this section like this. So just putting some little indications of that crowd of people, there is some kind of barricade or whatever here. Look at that. It's like a gate and started the gate actually in there's a statue. Yeah, this looks like a statue and then you've got the shadow of the statue. And I'm going to put in a shadow of something else here as well in the foreground, just to keep it interesting. But everything else here you can see just the people figures moving around, just going to improvise. Some here and there. So many people, so many like figures and people all over this scene. So we've really got to, really got to pay attention to the sum of those details. I want to draw them all in. Good. But I also want to let the brush, brush knew most of the work. So there we go. There's a nice little drawing that we can get started with. 26. Venice - Light: The first thing I want to do is go in with some color, some really light colors. And the point of this is just to get in, just to get an order. The white especially of the paper and leave the white out and then also getting some of these creaminess, as you can see here, the building, it's kinda this creamy color. Just up the top here. So really just mostly water and a bit of this buff titanium, which is an off-white color that I'm using here. But as you move down, you can see actually a lot of the building is actually pretty almost like stock. What the top part isn't, just this part here, so I'm going to just color that top bit in and down the base. I'll just dial it down a little bit with a bit of this color. But really the rest of it is kind of almost just fully white. But I don't want it to just end suddenly. So that's why I'm just doing a bit of this blending. Blending bit of it on as you can see as well. But also try my best to preserve that white in there underneath these archways. I could do a bit of just a little bit color in there as well to get rid of warmth behind behind those archways and things. Okay. Something in there. But I'll leave the leaf that in, leave that pretty much in white. Buildings back here as well. They have a bit more of a yellowy tinge, a warmer tint to them. So this will be a bit of color just dropping in there. Little bit of bluish color. Just a touch of these cooler color. This is just ultramarine. Just something because I know this. What do you call it? This dome here is actually a little bit cooler. As we move down, we've got some more of this color, warmer color just in the base. Like that's carrying that I'll cross k. Remember we're just using really light colors, okay? Not much paint at all. Probably ten per cent paint, the rest of it is just water. Then this building, of course, it's a really nice what does this color? It's burnt sienna and quiet light as well again, with a lot of water mixed into it. Alright. This is just getting out of the mix into everything else as you can see. Maybe beat up here as well. Okay. The top of the building has more of a grayish tinge to it in some parts, I'll just use this leftover bit of gray paint and just putting a touch of that up at the top, like that. It's actually some of it down the right-hand side as well like that. Yeah. Something like that. Just move this across as well. Okay. More gray in there as well. In fact, the right-hand side is pretty dark, but I'll get that in a second. Wash. I don't want to do everything all at once. Okay. Good. So what we wanna do here is again, just not picking up into this warmer color, drop that in here for this building in the front. Okay. Kinda like this warmer colored building. Good, good, good. I will spray off the bottom to keep it dry because I want to do the sky as well. So I want to keep the sky sharp against some parts of the building, but I don't mind it blending actually in other parts. I'm just going to be using a Serbian blue, lots of water in this cerulean blue lots of water. And let's drop that in like that. Okay. Good. I've only actually probably make it a bit darker at the top just a bit more. This is a, a touch of ultramarine. Then I'm going to drag through the top part. Okay, fine. It just looks better if I do it this way. And I'll use a larger brush as well. This is just a larger mop brush. And just move this through. Okay. It's already got some darker paint in there. Actually. I want to lighten that up, make sure that it's just really light cerulean in here. As I move down. That just cut around, you see all this. Some of it's going to blend, doesn't matter. Some of it is going to blend that down. Cut around that tower here. Like that. Moved further down again. Some of it starts to mix into the sky as well. I'm not fast with that. Now. I'm just going to add water down the base. In some areas, I don't mind it mixing. Just let it mix. And some parts just leave a bit of white on the paper, especially when you get near the buildings like that. I do like to live in a bit of white. In parts like this. You want to let it mostly mixed mixed together. What's the beauty of that darker blue up the top? I'm just going to reject that. Okay. Just a little bit of darker blue up the top. Especially while it's still wet. I want to do this. Okay. That looks nicer. Okay. So moving down the page over here, I'm going to mix myself up a bit of gray. I've got some white and also I've got some neutral tint that I can just pick up, mix them together and we get a nice gray. It's titanium white. It's all mix together. Look at that. Okay. Moving further down. More neutral tint. Remember to keep this really light here so that it doesn't overwhelm the rest of the scene. And we preserve the light in here as well. Super important. Okay. Because that's just, I mean, I didn't even take much work at all. Just drag the brush through there. Okay. Remember to keep it really light. Okay, So that's pretty good. Let's give it a quick dry. 27. Venice - Shadows: Alrighty. So what we wanna do now is getting the darker colors, the figures, everything like that. But I want to start off firstly, just up the top here and mix up a bit of neutral tint, just a dark color. You can mix up any sort of gray with which you have even just got a bit of black, a bit of I've got some brown hue and I'm mixed up with some blue as well. Whatever dark color that you've got. Pick that up. And we really want to work on I want to work on really the dock, some of these dark areas like e.g. here, you can see just the darkness show through some parts of the this little opening, this archway. And you can use this color and just cut around and to drive that brush a little bit. But you can see here I'm just using it. Rush to just cut around the Y. We're maintaining the white as well. But we're also using it to do some negative painting like that. That's one this, these little four sided parts like that. Okay. That's another one. Is can be part of another side as well like this. I actually extend that out a bit more. Here. Let's just do the same sort of thing. Darker more here. I'm doing this pretty quickly as well because I don't want to get don't spend too much time in this area. This is, and then you've got this. As you can see, these little bits of the railing there as well That's sorted. Join on. And in the process you also painting this pillar here as well. It's interesting looking pillar. Good. We got up the top here and also a bit of darker color running around the edge of this this window. And some details inside it as well like that. Little bit of squiggle in there and also little details to indicate the different floors as well. Okay. Let's just work on this now. Further down. I'm continuing the same structure, especially down the base here. I'm just putting in a bit more neutral tint and keeping it fairly dark. And I'm cutting around some of the figures. You can see inside here. Taking my time to just cut around and leaving enough white inside as well. There. Alright. So some of that previous wash is still there as you can see, previous. Okay. It's pretty dark under here and I'm just exaggerating it. Even though it doesn't appear as dark. I'm cutting around these figures as well just to make sure I've left some sunlight in there for them. Some colors and stuff like that. Okay, good. These little details are running through the top like this. You can see little details. I'm just using the tip of my brush to paint these in. Forgotten to get in this top bits as well here. Let's get into the top bits of these. Yeah. Like that. I'm going to reshape just continue reshape these little openings or touch as well. Good. Maybe a little bit and running down this edge of this building here like this, left-hand side. Less is more, especially on these some of these sections here on the left. Just some, a few maybe smaller dry brush strokes or running down the side like that. Of course underneath here as well, you do have some darker. It's in pieces. Just these little archways. I'm carving them out using a touch of this neutral tint, darker color all the way out to the back, like this. Like that. Okay. In a bit more of this color in there like that. Okay, good. I'm just indicating some more of these little details on the arch ways as well. It'll round these little bits that circle the archways, even if you dry brush them on. Okay, good. So pretty dark colors. I'm going to just get in a bit of that. On this building, this tower to get the indication of the shadow on the right side. As you can see, just that shadow shape there. Um, you know, you get a bit underneath parts of the buildings I here as well, you can see these four darker bits, darker spots or whatever. Doesn't look perfect, but definitely in there. It's just darken off that right hand side of the building. Like this. Okay. Good. This building here is also going to be pretty dark. Some more. Just quick, sporadic work like that. Look at these buildings here in the back. I want to emphasize some small details like these little windows and things here. But not too much. Just to indicate that there is something there. And the rooftops as well indicating some details, maybe a bit of a shadow or something like that. Cast on some of them. Okay. Just do it all in one go as well, please. Some of these archways, a pretty dark like this one here, another one here like that. Now there's actually quite a bit of detail in here, but if I can simplify this down, that's going to save me time. And also not draw attention away from the other bits and pieces in this scene. This is the kinda tower or whatever off in the distance. So you can see there. Right? I use this bit of darkness here to create a b. What should I say? Like separation as well. This part of the building does have some dark. It's here. And I would presume that would be sum here as well on the right-hand side. So just a little thing like that. Okay. Then we've got everything joined up and when we've got all the shadow is really in the darks of all the scene. Okay. I doing it this way. So we've got this whole cohesive shadow that just sort of joins on, as you can see to everything left, Left and Right. Okay. All lot of this stuff he can be further exaggerated, can be can be that can be more details. Certainly put on there with the shadows and stuff like that as well, but I'm just trying to keep it more simplified. Okay. Good. Being careful not to do too much as well because you can find enough over. Detail and all of a sudden lose the magic of the watercolors that you had there before. Okay. Good. Okay. Let's put in some of this stuff here in the hopes that let me just firstly see if I can add in some shadows in here. Probably hard to these little windows or parts of the building like that. Just some quick ones like that. There. Maybe some verticals running down this building. Okay. Just indicating these markings on the buildings. Okay. Simple. Nothing to thing too detailed. Radome. So this is this like I was saying before this, what it is the statue that's here to the left, it's kind of protected or guarded or something by this this gate that's just in the front of it there. So I'm just putting something here, some sort of gate or whatever behind it. Of course, you've got bits of the steps or things like that. I just don't I'm not interested in detailing all of that. Just something simple like this. Like I was mentioning before. I want to put in some shadows as well running across that side. But let's just let's just try. There's even some kind of bench. Can you see that there's like a wooden bench or something like that here? I'm going to put in a few little lines of detail. I think it's a bench of some sort. They're hard to, hard to say exactly, but little details, some little details I think should help. And you can even see some of these vertical poles or whatever just off in the distance that I'm trying to put in a few of these, not only that on top of the buildings like these, little towels and things as well. Okay. Just make them look a bit more detailed even though they're probably not. I'm not in our painting anyway, doesn't they don't look detailed, but it helps to create the illusion of those little details. Okay. It's on the top of this building. We've got some something here as well. Okay. Good. K. Now in the foreground I'm going to pick up a cooler color. Let's put in that shadow that I was talking about before, that just runs across here. This is like the shadow of the tower or whatever that is there that the statue. And then of course, perhaps another one, just something else coming out into the foreground there. Like that. Alright. That looks decent. To join a little bit in some parts. You're probably gonna get some just thinking. You're probably gonna get some shadows running through here as well. But I'm going to extend this bench or whatever that thing is. They're just extend that over to the left-hand side. There's also some shadow underneath it. So you can see. Sometimes it's not so important to draw the actual paint, the actual thing, but to paint its shape. And the mind will figure out the rest automatically. Okay, let's, let's get into some little bits of color for the figures. Okay, Got a little round brush. And we can just put in a bit of color for the clothing and things like that. It doesn't really matter exactly what color you're using for them. Even. I tried to use some lighter ones. Okay. Color. Even if you're using grey bits of gray colors and stuff like that, that's going to work. Two people walking around and stuff in the distance. Just chronic create these little blobs for that parties to make it look like there are people out there. You can do some that are a bit darker as well like this. Okay. Not too dark. It's getting some legs. Some of them are just join some C, you can join them up with the shadow here in the ground as well if you're lucky here, because the shadow hasn't completely dried. So this will run in and I think will make it look more interesting so that we've got the shadows. Are these figures just joined up a bit more here? Like that. Okay. Lips. These two can be there. Got some figures off in the distance right here as well. Okay. Just underneath the what do you call it? I'm underneath underneath these arches. Okay. People just walking around. And the other ones you probably need to put in a bit of a shadow, a bit more of a shadow there, like this. There could be a person here, shadow running to that right-hand side. Like that's just join them up a touch like that. Okay. Let's get a couple of legs in there as well. Smaller figure. When you dress or something. Someone here really trying to get a few more in here while the, while the paint finishes off drawing more figures. And number two there, no more here in the back. Whoops, this could be maybe one closer. Sometimes if you stuff up the figure, if you make it too large or too small, you can turn it into a figure that's further out, out in the distance or something like that. It's not set in stone. Yeah. Here's another figure here off in the distance. Maybe get rid of shadow underneath as well. At UBS. Trying to use as few brush strokes as I can to imply what is happening in the distance. Anyway, then I can just join on these people to each other. I'm going to put in just some more dark areas as well while I'm waiting for stuff to dry. And here it looked just retouching some parts of it. Just retouching areas that you think might look better. I mean, e.g. just under these archways, I was thinking perhaps you find just dark in a bit more in some parts it will help the figures to also come through better. Like that. Give it a bit more contrast as well because I think we've lost some of that. Here. This needs more, a little bit more contrast for this doorway, archway here. Some of these little windows or whatever at the top, like that too. Like that. You don't wanna do it everywhere, but just in some parts, we've got the full range of tones running through. You want light and dark, everything in the middle as well. Okay. Bit of darkness underneath there and here as well. It is pretty dark on this right-hand side of the building just due to the shadows. Some more some more little details that I can put in. Just a few little brush strokes like that. And there we have it. We can indicate that building there. Some more here at the base. Good. Now let's give this a quick dry. 28. Venice - Highlights: A little tidy up of the shadows underneath those figures. A touch here as well. Kay? Some quash, little bit of Bosch, love having some of that to put in some of the final details. Okay, but before I do, I want to further darken some paths and work on some other parts, e.g. some of these figures, I do think that if I can just darken the legs a little bit in some of them, create a bit more interest. And also here in the background, we've got other figures and things running around. People running around. I do feel this building here just needs a touch, just a touch, more detail in there. Okay, good, good, good. Let's see if I can bring out some maybe you put just see if I can bring a bit of blue or something on some of the figures, blue and mixed in with some white gouache. Perhaps this one. Let's try tiny bit of blue like that. Because we've got so little colors. In this scene. When you add in a little bit of blue or something like that, it really, really sticks out and gives it a little bit of character. Makes them look, it makes the figures look a little bit different. Here we go. Just a little bit of gouache with that one. Maybe some pink or something for the faces bit of reddish color like that. I'm helping to kind of bring them bring them to life. Especially because they just look like they all join together. To some extent. It is people just in here as well that I've invented or put them in earlier. So I'm a little bit of color there. Can't hurt him. Now, this gouache I'm going to use to bring out the highlights. It's just white gouache. And we can do this just put in a bit here. Here on the heads and the shoulders of the figures like that. Just bring them out in a couple of shoulders. This could be a person here as well. Here. I'm here. More importantly, the ones here in the front, I think just need a bit more. It will be this something that kind of getting this hint of the light on their shoulders. Our economic to go back in and darken some of them had touched as well. I think some of them are just looking a bit too probably touched too light. So I can continue adding on the gouache for now. Okay. But they're another good thing. The gouache is good for, as well as adding, bringing back some of the highlights that you might have lost. So e.g. these polls, if you think that they just need to be straightened out a bit more or something like that. You can just dab that in and get in a little bit more of that detail. Like that. Building as well. Perhaps a bit of white in here would be good. Oops. Not too much on the right-hand side, but just underneath like here, here, in-between these bits like that up here as well. And also in the top part of the the tower like that. Bring bit of it into the buildings as well. Just to touch something in here to join it all up. You'd have highlight here. Here. Maybe gouache is great for this type of stuff. It just brings everything together. If you've made any mistakes, it doesn't matter. It's actually a bit of lighter colored stuff here on the roof of this building. Touch it that on this fence as well, maybe top part of the fence in this in short over here. Okay. Yeah. I think I will darken some of the figures have been just dark color. If I can just do something like this, maybe a couple of them. A bit more black, darker color. Okay. She the ones that are closer to the front of the scene, I think extra bit of darkness can help create more interest. Split them up as well when you've got ones that are sort of half, half. I'm standing around the same distance from the camera. Right? We are finished. 29. Venice Night - Drawing: Alright, so let's go ahead and get started with the drawing. And this is quite an unusual scene of Venice. You've got really a lot of dark areas, but we've also got a significant amount of light which seems to be emanating from the center of the scene. You've got some other bits of light down here on the left-hand side as well, there's a little lamp and you can also see the light reflected in the water. Now this is really important that we take note of where the light years, because we don't want to get rid of it. When you first look at the reference picture, that's the first thing I think, especially in a nocturne, not seem like this. You really want to just keeping the front of your mind. So let's go ahead and start with the drawing. I'm going to draw a line. So let's have a look. We're going to look roughly where the horizon line is. It's not in the center, but it's almost, almost halfway through the page, but not really. So I'd give it about here. And I'm marking little a little line, I guess just around the center of the page and it doesn't have to be 100 per cent, but you do have to get it more or less accurate because everything else is going to be drawn in relative to this line. Okay? So it's not even continuous line really. I've just, I tend to draw a longer lines like that just makes it easier. In the center of the scene, you have got this bridge, but really around everything else. We have so much details in terms of all these buildings. I mean, I think I would actually start going in and getting in the pathway, I suppose, going to the center of the scene. So roughly here, running out, you can see the path just around here. Okay. This is just on the edge of the canal. Nice little edge like that. And now you can actually see it come down into the water slightly as well. Okay. How significant I want to make that. I'll decide later on. You've got another part of it as well here. Just coming in roughly to the center, like that again. There we go. Okay. Let's go ahead and I'm just going to put it in a bit of the bottom part of the canal like that as well. The edge of the what do you call it, the edge of this little walkway. Really simplified at this stage. So many little boats and things like that here, but I don't want to bother too much with that just yet. I want to get in the bottom of these buildings, roughly here. There's a bit of pathway. They care, they're over here. I think we'll start working in this war. And there's actually a bridge that runs right cross the center. It's really important just to outline roughly where it is like that. I'm going to go in and change it up later because I actually think that's probably a bit to change that up and modify it later, but just a little, little indication of where you think it might be. Okay. Bridge in the center. And we've got now on the right-hand side of the bridge, we can sort of put in this building, know that it goes up roughly about it. It's like a wall. Roughly about here, maybe a quarter of the way into the page. So one-quarter or something like that. Okay. And we know that the wall goes all the way down here like this. And there is actually a doorway. Can see here, a little doorway. Alright. So you can put in small features like this. As you go. There's not only that, but there's a nice little lamp here. I will just outline it. And you can see it just go straight into the wall as you can see, like this. Okay. Just sticking out into the wall and detailed it a bit more later, but small indication of that there while I'm in this section, I'd like to be efficient. I'm also wondering whether we should put some, a person here figure in here. And we'll leave that for a bit later. I do want to put some figures in here actually because there's nothing very hard to see them. Small ones out in the back does increase, and it just makes them look a bit more lively, I suppose. Is that bridge again? Let me just outline it a touch more. Okay? And just what to do with sort of draw things in smaller sections at a time. Okay, here we are. Bid that breach comes down actually a bit of a vertical. Vertical like that. Like it doesn't really matter at all, joins up together anyhow. But the bridge is important. The general shape of that bridge you want to pay some attention to. Let's have a look behind this building. War. We have another building which actually, surprisingly enough actually forms part of that building. Let's just firstly figure out where the top of this higher building comes in roughly here, like that. And this then joins onto this, which you may call it this building. Then I'm drawing here like that. And you've got a bit of an edge to it. They're sort of a side part of the building like this coming down. Okay, That's important because we're going to get some light on this edge of the building. Just coming through, outline this wall a bit more, make it more. And of course, there's a window here, nice little window. Some details on the building. It doesn't matter a whole lot. Another cool thing you can do is you can see all these windows here on the sides of the building in the background. And if you want, you can even put in one that has some light coming through later on and I'll show you how to do that. But for the time being, as you can see, I am just drawing the windows in and keeping them trying to keep them a bit smaller in the back. Okay. But I'm not really drawing all the main. I'm just indicating where they're where they're at. Good. I'm aren't actually lengthen this one a touch. Let's have a look. Yeah. That's all right. That will make that will do. We've also got some other buildings out in the background. Is this a triangular rooftop building here to see, but it's something like this triangular rooftop. Okay, Let's see, let off like that and bring it down. The needs of the bridge. The bridge like this, good and the edge of that building as well, super-important like that. And sort of gets in a bit of a side part of the buildings so we can get in that light source really important. There's also some kind of door, window or something like that there as well. Sort of outline these areas a bit more so that I remember to add them all and I miss them out later can be tricky. And especially when you go in with all the paints afterwards, you tend to forget bits and pieces. So here we go. Another one, this is kind of like a, another rooftop or whatever, just behind as well. We've got another kind of rooftop here as well. And just because the reference picture has them in certain places does not mean that you have to copy it exactly. Okay. As long as you've got a brief indication. And what I really like about this scene is this clock tower in the background is booming cocktail. I don't want to exaggerate that a bit. Let's put that in here. We can even see, kinda can see the right-hand side of the detach. You've got to sort of stories like this. And k, two stories goes in behind. And what else have you got years of sticks out the side, these little bits in the center? Then you've got the top part of the tower. I'm I'm actually going to reduce that down and I'm glad that I've made the buildings a little smaller because if we have this too far up, I find any way. It just looks funny, a bit disjointed and too close to the top of the scene. So I'm just going to do it like this. Okay, that's quite enough. I'd say in the top of the building as well, this cocktail, you've got some lighting areas and year as well. Quite interesting light which we'll get in. There, is well, a lot of the stuff we're just going to have to preserve and make it make it come through. In the final wash when we're just cutting around all the light. Again, just reminding myself to make sure I've got in this 3D right-hand side of the building like that. Just to be to that 3D section. Yeah, Look, I mean, it's not say it's not the most perfect looking tower, but it does the job. Does the job. Okay. We can always tidy it up. A touch lighter here underneath. We've got yet another roof top here. And I'm bringing this down. This is like a large house or something. Then look, you've got more buildings underneath here. Here as well. Near to the bridge. Underneath as well. In the background you've got all these buildings. And this is a great opportunity to just put in some of these boxy like shapes. It's just a box. You think about it. Alright? These boxy shapes. We've got a bigger one here. There's actually this one is just closest to the bridge so we can get that box you're looking shape coming in like this. Here. Here. The ones in the back are actually little, a little smaller. Reduce the size of them down a touch like that. We've got the boxy looking shape here like that, and the roof top peeking out from behind as well there. And then we've got this large building here. I'm going to split this into half so that I know where to stop with it. Where does it go up to? Let's have a look. That's the pathway. And this is probably going to be up roughly around here. So it comes down here. I don't know what this building is, but really it looks quite majestic. You've got this also the top part of it. Can you see this kind of triangular section? They're trying to make it look a bit more three-dimensional, coming down like that. They're okay. Look at that. It's sort of comes out a little bit like this. And of course there's so much going on here. I could spend all day with it, but I want to just simplify this structure down. Make it look a bit looser. Okay? That something like these pillars of columns or whatever coming down here as well. There's a doorway here, is another window up top there, few bits and pieces in there. Okay. And we've got a line just running across the back that's like the top of the roof or whatever. Or even on top you've got like another section there that catches a touch of light. All lot of darkness behind. And then of course you've got these two smaller buildings, too little to little buildings running down about to hear. Spring that one down a little bit. And you've even got some of the shop fronts, these smaller looking shades that you can see just sticking out of the building like that. It's got a lamp here as well, connected into the wall that's creating a bit of light and casting, casting some of that light to the right hand side of the buildings and onto the boats and stuff as well. That's mark out some of the rooftops and things here as well. Be the darkness behind there. We know all this stuff here is all quite dark as well. A lot of this detail we can get in afterwards. It's putting a few of these little wooden poles in the water. I think they look a bit too neat actually in the reference photo to need if that's even possible. Is all these boat shapes and things here. And I want to do my best to simplify them down. They actually come on all different angles as well. I mean, this one here, for instance, you can see it just sticks out of the water, but it's the back of it's facing here. And then you've got this motor at the back in the water as well. Like this. You can see the inside of the boat here. Okay. Then you've got I don't know what this one is. It almost looks like a gondola or something. I'm not really, but yeah, let's put this one in. It kinda overlaps there and comes out to the front like this. Okay? It's true tricky one to sort of draw that. Okay. I just get the bottom of it in a touch like this. I mean, a lot of this is still kind of made up because it's hard to see exactly what is going on down there, but that definitely looks like a boat or whatever down the base. I can probably do better and make it more detailed. Later on. That's okay. I've got some all these wooden pylons here just running out of the water. Let's put some on a odd angle as well. Okay. We are larger one here. I've exaggerated that one a bit. Would be good. Maybe if I put one in the water as well, I'll maybe at least the reflection of one here and the water running through there. Okay. Lots of them in the background and they are just like quiet, sharp looking and dark, especially off in the distance. Okay, underneath the bridges a little bit of details. While this bridge, we need to preserve the lot and that breach very well. It's really important focal point. That I want to preserve in here just to rub out some of those pencil marks in that bridge. And I think it's a really, I love bridges. I really do and just give it a bit more presence of suppose, bit more presence. Just do that by darkening down the edges. Touch like you can see here. Okay, Some more boats and I'm going to just copy these ones here, the boat facing towards us and that's all you need, just something like that. They overlap with each other as well. So you can just go ahead and do this kinda like a repeating structure. This one here in the front is a little bit larger and you've got more detail in there. But apart from that, I mean, they're quite similar in how they appear. Whether I want to put one down there or not, I'm not sure. I mean, it's I think I will leave it. I think I'll leave it. But in order to balance things out, I still have to make sure I've got some of these wooden pylons and whatever sticking out of the water. Okay. Like this. Just draw a few of the mean is another one. And it looks a little bit wonky, doesn't matter. Another one here, I'm just making them look a little bit bigger as we move down into the foreground. Okay, What else do we have here? We also do have some additional figures I thought I want to add in. So that's the bottom of the wall and some bricks and things in here. Not too important. Okay, let's put in as putting a person, maybe he just distance. Maybe walking simplified figure. Now that we can put another figure here. So just walking into the scene, it's probably, probably a bit large. Let me just reduce the size down a touch. Just a quick little figure walking into the scene like that. We can also put another larger one here. What you wanna do when you drawing faces that you want to make sure that the ones closer to us, like this figure here, He's actually larger. That's going to create this sense of this sense of depth in the scene. I'm trying to keep their heads roughly at the same height as well to make it look like this is a flat, a flat, same flat soda seen here as well. You're taking note, taking note of the right-hand side. We can also put in some figures, like another one here, maybe figure here on the right that just sort of standing around a bit too large there like that. So I figure this just here. Sometimes I get a bit scribbly if I'm not careful. There. Another one here, maybe just walking into the scene like that. Why not put a few more little ones here in the back? Generally speaking, I mean, it's not seen, so I wouldn't expect there to be too many people in there. Yeah. Interesting sort of shadow patterns because what you find here is that you've got a lot of the reflections of these buildings coming into the water. And then you've got these dark areas of shadow running through it. Again, like just trying to pencil in rough indication of where I'm going to put this dark area of the buildings are because actually there are some darker buildings and things in the background as well, like this one here is a bit of a darker shade of color in the water like that. Just emphasizing what's going on. And keeping in mind, thinking to myself constantly, Where are the areas, where the dark areas? So we're done with the drawing. Let's stop the painting. 30. Venice Night - Light: Okay, time to get started with the painting. And the first thing I really want to do is make sure that we've got in significant amounts of light in the scene. And we're gonna do the lot and some of the wet and wet bits and pieces in here at the same time. Okay, so first things first, let's have a look where the light we've got light here, we've got light here on the tower. I'm going to use different sort of yellows. I've got myself some yellow ocher, which is a really subdued sort of yellow. And I'll put that in here in the background. I want to also keep make sure I've got this pretty light as well. I don't have it wide enough for only 10% water. And a lot of it just most of it just just water. If you think about it, don't want any thick paints in here and you don't want really any dark bits at the top, just yet anyway. Top part there like that. Okay. And we can go down. And, you know, I always like to carry myself a little spray bottle. And the spray bottle that I use here just helps to keep things wet, especially when they start drawing up later on down the track because I'm just again, just going through here with a fair bit of care. You know, more like this on this window. I do think a little bit of more vibrant yellow could be good in there, something like that. Just revealing more of the paper behind the law to you do it with less paint. You do it the darker, sorry, the, the more vibrant it's going to appear. Especially if you're using quite vibrant colors, like yellow, hansa, yellow. But a lot of what I'm using at the moment is just yellow ocher around here. You've got this lamp. I'm going to put in a bit of this really golden yellow. It's like Quinacridone yellow around the lamp. Like that. So I can preserve bit more of the preserve just a bit more of that vibrancy coming around here. A bit of a tiny bit of brown as well. I want I'll just drop a touch of that in there. The bridge. Okay. Can we do that? It's putting some yellow or just a bit of yellow, vibrant yellow in that breach like that. Okay. Nice. The background, I'm going to just drop in some more yellow ocher. And I'm using Chinese using the most vibrant colors in areas that I'm interested to draw out some more highlights and things like that. I'm going to pull up putting a bit of red or something in here just to mix things up and touch even the, I mean, if you look at this building, it's kind of like an orangey color, whatever lighting that they're using in there. It's like orangey and with some yellow as well. Let's just drops in job in a touch of that to mix it up a touch that's a bit more yellow in there as well. That notice how loose I am doing this. Because I'm not worrying about not worrying about accuracy. Only thing here. What I want to achieve is a nice, beautiful, cohesive wash over everything. Okay? Alright, can, with these I'm going to have to just getting a bit of gouache for some of the lighting effects there afterwards. Yeah. Let's go behind. Just put in a bit of color here as well. Okay, little bit of color there. More of the yellow. This yellow ocher. Let's bring this further down the page like this. And you can actually see some of the light just coming off the foot path as well. This is important. Just go over the top of the foot path with all that light. Okay. A bit more yellow ocher. It's really just a combination of yellow ocher and Hansa yellow. Some more here. I'm moved down and actually this area is a little bit cooler. It's almost like a cooler gray color. Let me just pick up a touch of grayish color and drop that in here. And a little bit of blue or something in there. Can you just bring that down? But I still want to keep it fairly light. Okay. Maybe the purple, maybe touch of purple. Just a touch of that in there. And bringing all this down further. We can into this point here where we've got darkness in the water and also some of the light, reflected light. So I like to do this first, let's just pick up but a yellow, whatever, whatever yellow you want to use. And I'm going to drop the yellowing. Okay. Strapped I didn't underneath like this. And it can also leave some bits of white in there as well. We don't need to, but I'm copying, cutting around the bird, so I'll do the boats a bit later. What's going on at the moment. But you can see there's all this light running through the scene. It becomes a bit darker, darker yellows and more of like an orangey yellow, I suppose. As we move further down the page here. But you can see some of these little reflections from the buildings and things going into the water and creating beautiful effect. And I actually want to, actually want to exaggerate this a touch as well. And that's why I've put it in before. The outline of where the shadow is, dark area of the water is. You can see here this is the reflection of that building here. Alright? So the reflections of the larger buildings are in the water. And maybe a bit more here, perhaps. Okay. Now, what do we want to do at this stage? Well, we have to put in some dogs. When I say Docs, I don't mean that really, really dark, but sort of mid-tones. Stuff up the top here, cutting around the buildings. But I want to actually see if we can get the water in as well. Let's have a look and see which parts are most dry foot. First thing we need to do is actually mix up a color for the sky. And I think purplish color will be good for this scene. And you pick up a medium-sized mop brush. I've got some purple, some pre-mixed purple, but you can use, of course, whatever purple you'd like. I do want to dial this down by putting you in a bit of neutral tint as well, but a brown so that it's not such a vibrant purply color. Okay. So have a look. Test that out in the sky. Good. Like that. You have some other purples as well that I can play around with. But look at that Just nice watery touch of purple. I'm just checking. Having a look at if it's going to melt into that. I don't want it to go too far into the buildings. But we have to make sure that we've got enough light left on top of the buildings. And if in doubt, just leave a little white line next to some of the areas of the building that you don't want to oh, I should have done that. That you don't want to get darker. So even here we're going to add just left a bit of white line or a little edge there on the building. And I'll go through and mix it a bit bigger that you just kinda touching the edge of it. Letting some of it makes more. Yeah. Alright. This becomes a bit easier when things start to dry off as well. Okay, bit more purple, it starts thinking and it gets a bit more messy or two to vibrant purple. I'll just add some more brown or neutral tint in there as well. Okay. I like the fact that some of it does mix into the buildings, especially here because I think I'm gonna have to get get that to mixing anyhow later on down the track. But all we're doing is just creating making sure the sky is darker and the consistency of paint, I mean, it's still, let's say it's maybe 20% paint the end, 80% water because it is a really dark paints. So there's no need to know, need to really bother with mixing too much in there. With the yellow. It doesn't matter, but if you mix too much, it's going to go way too dark. Let's do want it to appear transparent. Just a smaller mop brush that I'm using here. Okay? That just let me cross cut around some of these smaller bits because it's tricky to do it without a larger mop brush. But notice how everything's blending together. That's what you want. But you still of course, got a little bit of the light leftover. Don't want all that purple to go into that tower and just obliterate what's happening. Okay, I think that fewer brushstrokes I can use, hopefully the better. Some of this is going up into the sky. Don't really want too much of that out there. So I'm just going to try to subdue that a bit. It's tempting really to put in some areas of the sky, like some clouds and things as well. I will have some darker spots, little inconsistent areas where it is darker, but I don't want it to look pretty smooth the sky actually. So I'm just being mindful of that. Look at how it's all mixing together. We're creating some, some bit of magic here. This stuff is starting to dry off a little bit as well. You've got an opportunity to do this sort of thing. Dropping a bit of that purple, the darker color, and want to use larger brushes. Actually maybe these are overboard but this larger one here. Okay, Just so there are not hard and I just not overthinking things with the shadows on the walls. Especially these larger parts like that. Flat brushes work pretty well too. Okay. Bit of bit of this. Just drop it in because this area is still wet. Yeah. So you've got a good opportunity to just play around with this. And I'm working this nice, beautiful wet-in-wet technique as we got here and you kind of just making everything blend. But we're keeping the light as well when areas so that we're not just obliterating it all. Let's see little bit here. And it's all the paper is still wet. So I'm going to actually go through later on in as well and just further detail in darken some of these wet and dry technique. But this is really the only time that you can get in softer looking shadows into this, into this area and have it still make sense. Even on the ground here, You've got some light and dark mingling and mixing together like that here as well. Look at that bit here on this wall, further down into the ground. Okay. That's cost by this this lamp. As you can see, you just spray this area down a touch in the water as well. I want some of this stuff to mix in with the water. Later on. Let's have a look at this building here. I do want some dark bits here, just a bit of darkness on the left of that building like that. So very purple and bit of neutral tint and a bit of brown. The brown just helps to neutralize, neutralize the coolness. A touch like that's, there's a separation that building there for instance, I'm the top of that roof, it's a bit darker. We do have some darker bits running into some of the buildings in the background. I'm being careful as well, just when it runs into that bridge, I'll just lift off a bit of the paint so that it doesn't completely go into the bridge. Because like I said before, we want to preserve want to preserve some of the lot and that breach some more here. What else have we got some darkness underneath the bridge as well. Like this. They're really just at this point we're mirroring. Mirroring what's happening up the top. You've got darker sort of shadows and things here in the water. Let me just pick up a smaller flat brush. Flat brushes are fantastic for doing these little reflections and stuff in the water because you can still retain a good amount of control. Now I'm just dropping in some of the darks running through here. I'm actually going to have to redo this sharp, get it more sharper later on down the track. But this will help set the stage for the darker parts, the sharpest areas later on. With the sharper shapes, this will be great fun, but this is where all the magic is at. Really. Look at that and these beautiful reflections of the boats in the water haven't got the details of the boats yet. But we can certainly getting so much of the remaining details through here. Pick up a larger mop brush, just be quicker. Yeah, look at that. Blend. Blend. Blend. Here again near the water. I will darken it a bit more like this. Again near this building, just a touch of this reflection here and the water joining it onto that right-hand side. Okay. Good. Some darkness here on the left as well. Okay. She used that darkness to shape the boat at touch as well. So you look at that just a little bit of give it a bit more shape like that. And join it on a touch more. You get little bits of white in here. Don't panic as well, just leave it darkening bit more here. You do get some small ripples and things like that running through. We'll have some softer ones, but I want to save, save it for later. Get some darker, sharper sort of brushstrokes running through there as well. It's probably gonna be a bit darker underneath this boat like they're just get that in like that. Okay. Good. So I think this is a really good first wash and everything is blending nicely together. So let's give it a bit too dry and come back. 31. Venice Night - Finishing: Okay, everything has dried off now. And what I wanna do is go in with some darker shadows and some outlines, bits and pieces for the buildings. Okay. This is really just going to bring everything together and just make it look more cohesive. So let's start off. I'm going to pick up my flat brush, smaller flat brush if I can, of course find it. Okay. What I wanna do is mixed myself up a color sort of similar to what we've got down the back here. I'm going to grab a bit of neutral tint. I've also got a bit of brown, brown and neutral tint here. I do have some do have some of these purple as well. Okay, So just mixing together a few of these different colors, as you can see. It K, fantastic, a bit more water in there. And I really just want to create a bit of a grayish color, maybe slightly warmer gray to start off with anyway. A little bit thicker, I'd say maybe 30 per cent paint, the present paint and the remainder just water. Now, I'm just gonna go test this out. Let's test this out on our first-place. Actually want to start out with this on top of this building. Hold the brush further down and you can actually get extra detail. Draw off that brush for this. I think it's too wet before creating too much color in there. Look, I'm just really feathering in some bits and pieces into this building, this tower. And firstly, just underneath that tower like that little bit of detail on top of it as well. There's a kind of know what it is, a figure or something at the top of statue, up the top there. And taking a bit of extra care with this. But there are some e.g. details on the insides of the buildings, as you can see, just a tiny bit of detail in there. The right-hand side of the building, It's like just darker on the inside here. So I'm just going to add in extra darkness and right-hand side. The smaller flat brush like this, it makes it so much easier to get in these details. So some of that in like that. Try your best to just do this pretty lightly. And my goal here is to really bring this trait, create a bit of darkness up here, and bring it also into the building. So e.g. here, look, you've got this rooftop that's really quite dark. I can darken this rooftop down a touch. Yeah. Okay. With that same brush, this joins onto this part of the building here as well, which I can maybe get innovative light like that. Just slither of light to the left there. Okay? You, you adjust essentially getting in some darkness all in one go. That just another side of the building there. That's done. I can just go in now and get in this side of the building here. I didn't even know exactly where it starts. Here it is. We can get that top part of that in like that. Okay. There any law or something down the bottom? Don't think so. Yeah. Sort of cutting near the bridge. We've got also this building here which has kinds of details and things near that side of it. But we can of course do this sort of thing. Put in a bit of the rooftop there for the building as well. Just a bit darker. And we've got some darkness on this side of the building. But of course I'm going to just cut around this cut around this window like this. Yeah. Okay. Good. Bring this down. Here. There's also some other bits of lights and stuff running through which I don't know too much about, but I will try to perhaps give it a quick spray here. Just get part of it to blend the touch down the bottom and do something. And then actually a little bit more light on the right-hand side of this building. This wall here are building or what have you. There's actually more light there. I'm going to pick up a smaller flat. Smaller mop brush and go over some of this stuff. Touch. Just to get it darker. Let's bring it, bring that darkness through. Okay, Here, look at that. You've also got, again this again this part of the wall that has some lights and things here. So I can just feathering some dry brush strokes because I want to preserve the lot. Definitely want to preserve the light coming off this lamp. I don't want it to just disappear and turn into nothing. So a little bit of feathering in work with this paint I have left on the palate can help with that. Okay. Here he is. Just bring some of this down like this. With that a little bit more here as well. Just give it a quick spray, coverage it to shift around and touch. That. Just got some of this light melting in in areas. She pepper can help as well just to help blend and soften some parts of it. So we'll look here on this other side, you've got more buildings and bits and pieces here that we can just mark out. Darken here. Okay, there we go. Good. What else do we have? Here is a little doorway or something in there as well. Some of this stuff here. We've also got some windows and bits here as well. I can just, you don't have to do it for all of them, but just a few of them. I actually go through later in, mock them out fully and get some more details. Remember, this is just a quick little wash to get in the tones running through here. Okay? That it doesn't even need to be so accurate. I do find those if you I guess play around with some of these dark areas near the bridge like e.g. these dark areas and some of the buildings, it will actually make it appear like the bridge kind of pops out more. So that's what I'm trying to do just in areas, I'll just darken a bit of these buildings out the back and they will bring that bridge forward a bit. Underneath here, see a little bit of darkness underneath that bridge. Again. Same same reason. This rooftop of this house. Now here it gets pretty dark. So just darken that off there. Notice how I'm just getting all the shadows to blend in and join together. It's quick thing that you can just do. I can even do some of the windows here at the same time while I'm at it. Okay, 1 min. To have a look. Here, there's a little window or something, bits and pieces here. This top part of the building, I can just dark enough attached like this. And again, just detail bit more of the side part of that building and these little pillows or what have you, is a doorway here. And thinking about the beauty of this arch way there as well. Yeah. I'm good. And this is like part of the building to just again, detailing and finding some bits and pieces of the building, architectural details of the building that you can paint in. Okay, it's not certainly not all or too much detail in there, but enough to imply there's something going on. Okay, I'm going to join this up here at the back and create a bit of darkness. Darkness behind these buildings. It's just with the same flat brush like this, join it all up. In fact, often not extended that building enough, but it doesn't matter. But a darkness behind that building. Okay. The separation on that building as well. Maybe to the rooftop, perhaps showing through. And then we've also got some of these windows again. Then I can just slowly put in a few marks here there. I don't know what this is, some kind of doorway or whatever there, but I'll just quickly put in a few more of these little windows. While I'm in this section. Of course, underneath is shade is actually pretty dark. You've got this and I've just picked up some neutral tint and darken that area down. There is also here, which is a kind of a darker section of the bottom part of the building. I'm not really looking much of details, rather just that the the shapes and the tones and the dark areas. Looking at what slight, what's dark. And just going with that. Notice how everything I'm painting really just blends together here as well. This side of the building I believe, is just I don't think I need to just put in a bit of darkness on that side. To emphasize this building here to the left, we call the white. Go crazy, too much sharper edge there. So I can make out that building better. Okay. So have a look. What else do we have? Okay, here. Actually this doorway, probably have to get some of this stuff in here on the right while the paper is more dried, lighter on k. Bit of this stuff is good. Let's get in. It might be a bit early for it, but I'm keen to get in some reflections, some smaller reflections here in the water. Okay. But before I do that, I'll just quickly spray this section, the footpath down. I do want some of this darker paint to perhaps enter part of the foot path. Okay. And yeah, just mingle downwards to touch a little bit here and there. We've got some here, doesn't matter. Some of it mingling down the page. I'm going to pick up again some of these darker paints, just neutral tint and got really two brushes. I've got these two flat brushes and I want to do this rather quickly. The smaller one first can be helpful. Kinda think of paints definitely thicker, neutral tint, brown mix through it, dry off that brush. This is gonna be pretty sharp. These bits and pieces, little reflections as you can see here, like that. Just running through the water. You only get one chance really to do this and you don't want to go over it again after, after you've done it. Just some of the reflections of the boats running down the page. Simplify them down, just have this one just running downwards like that. I mean, here as well where we have a bit of the building here, this reflection in the water. And a bit of it moving, as you can see here to the right, just sort of joining up to the right-hand side with these other reflections here in the water. Here. Here. Here. I'm just keeping some of that previous wash through there as well. Take your time with this. I tend to just want to say this to myself often, but I tend to just get too excited and rush this bit at times. But remember when as soon as you get rid of that previous wash, You can't bring it back. So trick is leaving a few different things going on here and the water should be pretty dark here in the front. Like that. Not much required. Of course we have some of these polls is wooden poles. I'm gonna pick up a bit of brown and a bit of this neutral tint myself in a nice darker color for some of these poles, like see running through here and just having them stick out a bit more darker, I guess, indications of them. And this is gonna be good because I'll get some reflections in the water from them as well. Brown. And you can always redo these later if they tend to melt in with some of the wet and wet work that we've done later. Before. Sorry. So that some more of these bits here in the background, these wooden polls, It's getting some sharp reflections for these here in the water like that. Just carry them down like this. One here as well. Carried down down here, here. Downward. That this boat as well probably keep some of that yellow or that warmth in there, but I just want to put a bit of darkness underneath the boat. Good. Let's carry on some of these, some of these little waves and things here into the background and touch like here. Just a few bits of darkness and what have you. And some bits here as well. This little building here in the background. Yeah. Here at building there. Underneath the bridge as well. Just a bit of darkness under there. And I'm really just feathering in some, some of these connecting brushstrokes supposed to create a sense of movement and depth in the water around the boats and just underneath the bottom of them as well. I find it helps to darken them attach because it will journalists anchors them to the water better. Some of these don't have much of a reflection. I'll just figure that out here. Do this one as well, this building maybe downward brushstroke like that. Distance. It's important to make sure that we're not getting rid of all that light though. So even though I'm putting some sharper brush strokes running through the water, I don't want it to obliterate this beautiful warmth coming through. Okay, here's some more like larger waves on that right-hand side, especially as you can see, some of these larger sort of chunkier looking waves here. And the path as well, just get that in like that sort of beat that joins up here near the water. Just, I'm going to emphasize that we will like that and the water coming up to it. The k here is, well probably should emphasize that path here in the back there. See similar to that right-hand side and just darken underneath it. We will just look darkness underneath it like that. Not to be too obvious, but it helps us for sure. Comes all the way up there, doesn't it? Up there? Good little bit of sharpness underneath the bridge for the light coming off the bridge. Right? I'm going to put in some colors for the boats and made sure we subdue them down a little bit. I've got a bit of blue, tiny bit of blue, and I thought I'd put it in here. Maybe we have a larger brush that will just do this faster and lighter blue running through there. But look at the end of the day, it doesn't matter all too much. Just trying to imply a boat shape here in the water. I mean, really this one is quite dark in some areas as well. So here It's just really adding in some colors, adding in some colors to the boat. And somebody just appears grayish in color anyway, a bit of warmth floating through them. There's some blue, maybe blue. Okay. The figures as well, we can put in some darkness in some of them, just bring bring them out a touch. Okay. Good, good, good. Detailing on these buildings in the back. Just a little bit of something in there. Let's give this a quick dry finishing touches. I'm going to put in really the darkest bits and pieces of this scene. And I'm using more or less almost pure black, neutral tint mixed with a bit of water. Okay. Let's have a look firstly, I think these windows probably need some extra work. And you're just using a small, a fine tip brush like this one here, just this little flat brush that you've seen me use before, but You know, picking up darker paint, dropping it in this touching go type stuff here that you see me doing. I'm just going put it in and then just go into another area. There's another bit of darkness here are to dry off this brush a little bit and this creates some sharp of brushstrokes and makes it look a bit more spontaneous as well. There's actually this, you've lost it, but there is this war, the barrier of the wall here somewhere. Just put it back in just a quick, something like that. This is your opportunity to getting all these little details that we've missed out before. Darker colors of course, like that. And this is like little lab here. Simplify down of course, little lamp like that. You've got little bits on the, on the wall like these windows that we had in the backgrounds. So just a touch of detail there for those windows. Like that. There's a door here that we were painting. Now the door here or something like that. What else do we have? Just picking out some small little details, windows and stuff like that. And the rooftops as well. Perhaps if you want to darken down some of the rooftops and beats in the background does help. Okay. Okay. Top part of that building here. Small little details on this tower. Oh, sharpened details, I guess. Still want too much of that in there. Okay. Extra darkness in some parts. Okay. Some more windows and indications of details and these background buildings as well does help. The figure is, let's put in some little details. I want to put in some legs, just make the legs more visible. Maybe you're a shadow coming to the ride or something. Another figure here soften this shadow down. Actually this too much, too much sharpness and they're not really to define shadows. Bit more. Darkness there. So have a look. A couple of figures will bunch of them here to the right anyway. So here just putting a touch of color and detail for these figures. This one is just sort of standing here as well. Again, just indicating that light source a bit by using the shadow of the figures. There's like the general shadow of the wall as well. Running towards that left to some little bit of color in there should help. Okay. Smaller brushes to get in. This tiny pylons and wooden poles and things here in the background. Sharpen things up. More little details for the boats. Details this boat as well. Bringing back some of the outline of the year, the detail of it, I guess, could have whitewash left to put in some final highlights on top of the figures and things like that. Yeah. White highlight. Touch of it on top of the bridge. It'd be like that here. That helps to bring it out. More. Figures. And the poles as well, just running through, just a little bit of white running through there. Some of the boats as well, just they sometimes pick up the bill highlight here and there. Maybe a little bit in the water, tiny little, few, little lighter bits of white running through the water. Not too much. Just to break up this larger shape here at the base. And we're done.