Mastering Urban Landscape in Watercolor: The Ultimate Course

1. Introduction: Welcome. In this comprehensive course, you will learn everything you need to know about how to paint urban landscapes in watercolor. Urban landscapes are fascinating and unique subject that combined a number of smallest subjects, including people, buildings in nature. Creating a sense of place is important. But being able to tell a story, you can pose a powerful emotive painting is a skill that will take your urban landscapes to the next level. This course we'll show you not only how to paint the features scenes, but how to transform any photograph into an urban landscape. There are seemingly many different techniques and processes involved when painting an urban landscape. As a beginner, difficult to know how to even start. Hold your hands and take you through my entire process from start to finish, beginning with the initial planning process. In the theory and exercises module, I'll show you how to identify and compose a scene in your mind before you even start drawing. It's important to select an appropriate subject that will translate over to Rich, an interesting painting. A talk about what elements look for, how to sketch, how to identify a light and shadow. Next, we'll go through all the essential watercolor techniques required to paint an urban landscape, as well as the crucial topics. In this module, we also have many opportunities, watercolor theory and techniques by completing simple painting studies together. In the second module, urban landscape elements. We'll go through how to paint the central elements found in every urban landscape. In particular, we'll cover how to paint buildings, people, in vehicles. This will give you the foundation blocks in order to feel confident painting entire urban landscape with these various elements. In the final module, painting along instructional demonstrations, you paint a variety of urban landscapes in different countries and contexts. This will provide you an opportunity to create your own beautiful paintings from scratch and apply your knowledge from the previous modules. So join me in this course. You'll be painting some beautiful urban landscapes. No time at all. 2. Materials Required: In this video, I want to show you the materials, the central materials that you're going to need in order to complete this course. And this goes for pretty much any watercolor landscape, but especially when we're talking about urban landscapes, I'm going to be going through the colors and just some of the brushes and things like that that I think are most important. So as you can see here straightaway, I have a little sketch book now, I made this one myself. But essentially I recommend using 100% cotton watercolor paper. And the reason for that is when we're doing a lot of these large washes when we're getting in areas of wet and wet works softer shadows, you'll find that the cotton paper can handle the additional washes being wet for longer. And just the effects turn out looking a lot better than if you use a cellulose or non cotton paper. The reason for that is because you often just lift off the previous layers. It just doesn't handle enough of the paint. So if you can get yourself some hundred percent cotton watercolor paper, now, I have mine in cold press or medium texture. So there is a slight little texture as you can see here as I turn the page over, that's visible under the light. That just allows the paper to have a little bit more character when you're doing some dry brush strokes. Also when you're doing large washes as well, the paper handles it better, takes a little bit longer to dry and you get some nice softer gradations. Really essential. Now I'm painting on an A4 size sheet of paper, which is about one eighth sheet. Now you can paint from about one-eighth sheet to one quarter sheet. That's about the largest I go one-quarter sheet these days. So you'll see when I'm doing the demonstrations that I use a combination of both, but mainly one quarter sheet. I find that just give me a little bit more wiggle room for those larger shapes, get it. And also get to use those larger brushes as well. So that's about it for paper. I'm going to go just over here. What you can do is you can actually get your own larger sheets of watercolor paper and just the entire full sheets and just tear it down into smaller parts and sticky tape it onto a masking tape it onto a little bit of wooden board or plastic board as well. So I just have mine in this sketch book here for some of the sketches that I'll be doing in this class. But usually I do have the loose sheets of paper which I sticky tape down just makes it a lot easier. When you're painting like this font and the paper just buckles and moves around too much. Okay, so going on to the paints now, you can see here is my palette and I'll just go through the different colors. So over here I've got a bit of quinacridone, yellow over here, a bit of hansa, yellow light is going a bit of yellow ocher here. This is pyrrole, orange and purple, red here. I've got a color called quinacridone, burnt orange. It's a granulating orange color. It's not too common, but I tend to use that. It's a little bit more subdued. I've got color here called Buff Titanium, which is like an off-white color. Cerulean blue. I've got some gouache and things floating around here. Get rid of later. I've got a bit of lavender paint here, which is like a light lilac color. I've got here a bit of turquoise. I've got a bit of ultramarine blue, burnt sienna, burnt umber. I've got a couple of greens here. This is Daniel Smith, undersea green, and overhears a olive green. And pretty much these ones over here are just three different types of purples that I use now it's not so necessary. I'm just quite into my purples. That's even another purple here. I have got a little bit of black and neutral tint. So the way I structure my palette really just goes from lighter to darker and from warm to cool, apart from these two huge earthen colors as well. So you just see me squeeze out little bits of color here. Sometimes I just liked having a closer on the palette so I can get them in a mix them a little bit easier. And usually when I mix a dark colors, I tried to get it a little bit more muted down as well. So having a few different warm, cool colors together on the palate makes it quite easy for me to modify that medium. That's our wash in the center. So two really large mixing wells here really helps if you have large area to mix. If you don't have that, you might have a plate at home and those are really useful. You can grab one of those out and use that even a couple of mics on. So if you just have some paints on a pallet or even you squeeze out your paints from the tube onto a separate plate and then use the second plate to mix them. That's also pretty good. Some people also have pre-made palettes and that's fine. Just try to make sure that it has larger mixing areas, especially for larger paintings which are all classify quarter sheet and above. You want to have enough mixing area in there so that you can mix up a large quantity of paint for some of those washers just stops you from going back having a re-mix it again and again. So for this course. I'm not gonna be using all of these colors really. I'm only going to be using a few of them. So over here you can see some of the yellows. I predominantly use yellow ocher. It's a very subdued yellow, not too vibrant, and it just has a nice warm towards find that some of the yellows like Hansa, Yellow Medium, this can be a bit jarring to the eye as at times it's just too vibrant, overpowers everything else. If I ever used that, I tend to just mix it in with a bit of buff titanium, just dull it down a little bit. Or I might save that really high saturated area for some highlights on my scene or just some areas of interest. Here I've got this Quinacridone, yellow. This is a great color that I like to use because it implies a warmer golden sunlight around golden hour, just before sunset. I find this is the really nice color that I, that I use often in terms of the oranges, you've got the quinacridone, burnt orange, and a bit of that power or red here, even if you have yourself some rosy red as well, That's completely fine. Over here. I've got myself a little bit of this buff titanium which I use to get in really light areas of sidewalk, maybe some beaches, that kind of thing as well. Areas of the sandstone where it doesn't have much saturation and very little contrast. So I find that really helps Cerulean Blue use that pretty much for the sky. I don't touch either of these really for this course. So that's lavender in a bit of turquoise, ultramarine blue, quiet, an essential color that's very important for mixing your darks. As burnt sienna. Great for getting in those rooftops of some buildings. Cake. It's kind of like a reddish brown color, quite a nice, nice light brown color that I use. The burnt umber again is just a nice dark brown color that I can use to add a bit of warmth into my grades when I'm mixing them. Of course, there's a couple of greens here, more so darker greens. And what I tried to do, if I need to paint any trees that are perhaps a little bit lighter, I'll just go ahead and mix that green with a bit of this yellow here. Sometimes the hansa yellow is great phone and get some more contrast and saturation. Really bright grassy green, those to mix very well. Otherwise I can use something like my yellow ocher here, which produces a little bit more of a desaturated green. Purple is a great, I've got a few different purples here from different brands. I've got a Daniel Smith imperial purple here. I've also got a pinker purple. I've got another purple here from Daniel Smith, amethyst, and also another Daniel Smith purple, just carb azole violet. Now they're all quite similar. The only thing is that a couple of them granulate, which I like. So the Daniel Smith imperial purple and the pink or purple as well. And I just have a nice sort of granulating effect, which I'd like to add into my background is it's more of a personal preference. Now these are quite nice for mixing upgrades and getting in the corners from those grades, you want to make a cool gray or I can actually add in a little bit of the ultramarine blue as well to get a similar effect, especially want to cool it down even more than the purple. Now have inconvenience colors that I have a little bit of, like I said, the neutral tint and the black here lamp, black. Lamp black is really just a quite a dark black color. And I use this to get in strong contrast. And also I can mix a bit of gray out. It is just water it down and it makes quite a dull looking gray, which I do use from time to time. Neutral tint does the same thing, but it just doesn't have that granulation effect. When we're talking about shadows on the sidewalk, shadows on buildings, often I'm mixing up a bit of purple and a little bit of red, a little bit of black, little bit of the, the browns on here just to get myself a nice shadow. Often I try to bias it with a bit of a bluish shadow. And the reason why just a cooler shadow is because normally the buildings are more of a warmer color. So when you think about things like yellow ocher or this golden quinacridone, yellow. If we get a bit of this purple is shadow going over the top, you can get some beautiful looking vibrant shadows. So that's why I tend to use purples also in my washers when I'm going over doing the shadows, but essentially you're contrasting warm colors with cool colors. Sometimes what happens when you're painting? You might go over some areas of complete light. And the only way to bring it back is to use this course as a finishing touch. At the end it's an opaque white paint. This is an Australian brand, get whatever y you can. Some people also use a bit of acrylic white. So that's up to you. If you've got something like that available, you can go ahead and use that. I just tend to use gouache because again, it is technically still a watercolor. I want to keep things. In the same medium, but a great little thing. And you can also mix it with some of the watercolors. Like if I want to mix a bit of yellow into the white gouache, I can turn that highlight into a warmer sort of highlight as well. So depending on the quality of light that you've got and if you've got lots of yellow buildings with reflected warm light on them, perhaps some of these white highlights are going to look a bit out of place, so a little bit too sharp. So that's why sometimes when I'm mixing a bit of yellow into that gouache as well. So here are my brushes in the center and some of the miscellaneous bits and pieces that I use. Now I'm going to go through some of the brushes first and I'll explain why I've got everything else here. So as you can see, I've got an assortment of round and flat brushes. I don't use all of these. I'm thinking about most paintings, I'd probably use these three mop brushes. The most. Mop brushes are basically watercolor brushes that hold a lot of paint. Now, I, depending on which one I use, it's based on the paper. So if I've got a large sheet of paper, I'm gonna be picking a brush that sort of fits in, especially looking at what I'm painting from painting a larger sky. I don't want to be going back using this little brush going back and forth, back and forth constantly, I'll probably pick a medium mop or the larger map here. The great thing about these brushes is that they have a sharp point and that allows you to cut around objects, cut around buildings, figures, things like that just to create a little bit more separation in your colors. So really important, those mop brushes, you'll also notice that I use a bunch of flat brushes. He's a couple of synthetic flat brushes. Have these need to be replaced? I've got to find some soon, but basically these ones here, they last long term synthetic brushes and they allow you to get in nice sharp areas of contrast in your painting, especially if you're doing buildings, because if you look at the brush, It's shaped with such a sharp angle there when you're putting in the shadows or painting in that area. It's lot more easier than say, picking up a round brush and trying to paint in the shadow, it's more wobbly, whereas this kind of gets sticks to the paper a little bit more and it's easier to control and getting a sharp shape, things like boxes. If you've got a boxy house or something like that and you want to get a part of it on. In shadow. Flat brushes are fantastic. I love using them for that particular reason. You have some other brushes. These ones are just synthetic round brushes. I've got so many of these and these are great for getting in small details like figures, power lines, that kind of thing. They come in all different sizes, okay, So you can pick yourself up a few of these that will help you. And apart from that, I've got this, these two brushes left to talk about. So this is a rigor. Rigor is a good brush for getting in a little tiny, tiny little details. Usually things like smaller trees, power lines. If you've got perhaps little highlights that you want to get an ink wash later. This just picks up barely any paint, but you can get a thin, sharp line with them. So it's a useful little brush I use from time to time. This one here is a really large watercolor brush, as you can see when I use that when I'm painting large areas of sky. So if I want to get in perhaps some cerulean blue through the entire scene, I'm gonna be using this, and it's fantastic because I don't really need to go back to the palette too often. I can mix up a large amount of paint and just go straight in. What are often pair this with one of these mop brushes, just so that I can get in a little bit of sharpness over the top of the buildings. So make sure you keep that in mind. What I often do is that I often modify the amount of water on the brush based on what I'm painting, this is really crucial. So e.g. if you're painting like a darker tree or something like that, and you don't want the water to run too much. So you might want to pick up a bit of paint and you see, look at the brush and look and see how much paint is on it if it starts to drip off. I just tend to debit down on the towel. You can use a cloth like this or you can use a paper towel disposal, paper towel, whatever is fine, just something that can alter the level of moisture on your brush that allows you to control the wetness of the brush and the wetness of the wash so that it doesn't go all over the place when you get in. So you see especially when I'm talking about dry brush strokes, right then when I'm getting in tiny little details, windows and things like that, I often pick up a lot of paint on the brush, really thick paint and then I'll just draw it off here. And then I'll go into the painting like that and that makes, makes it so that I don't get a gigantic glob of paint on my painting and just ruin it. Okay, so the towels really important, often understated. And I'll talk more about that later in terms of mixing your colors and consistency of paint. Over here, a few other things, container of water, and they tend to use one container of water just to keep things simple, 500 meals. You can also go up to one liter. Actually, I think this is a one liter container of water. So probably better to use a one liter because it just doesn't get dirty as quickly. This is a little spray bottle here, and I use this from time-to-time to re-wet parts of my painting just gives me some extra time if I want to add some more color, not done with an area yet, or I'm just waiting to go back into an area and I want to keep a little area of that still wet. So really important, making sure that you have something like this. You can use empty perfume bottles as well. Just anything that produces a fine mist. Otherwise, you can pick one up for a couple of dollars through a whole variety of art shops or even your hardware shop. Here is a hairdryer. I use this in-between washes. And this is really good because it just saves time in the middle of washer. So especially when you've got a really, really wet wash, I tend to wait and let that wash soak into the paper a bit first because if you use the air dry too quickly, what happens is that it will start shifting water around and causing it can sometimes cause a mess. So wait till the papers kind of starting to dry and you don't see any large pools of water. If there's large pools of water on the paper, you probably use too much salt would get a bit of tissue and soak some of that up if possible. But generally speaking, your paper should, there shouldn't be pools of water on, there should be starting to dry. And that's when I pick up the hairdryer and I finish it off, saves me from waiting another 10 min for that to complete the draft. So these are the materials that you need. And that's about it for this video. 3. Paint Consistency: Now let's talk a bit about paint consistency. Paint consistency is very important with watercolors. And the reason why is with watercolors, we don't really use any white paint. Generally speaking, in order to lighten the color, we need to add more water. Okay, so here's a quick little swatch, a quick little example which I'll show you. And you'll see these a lot on online. But there's, you start off with a really dark paint here. It's mostly just paint a little bit of water in there. I'll start off really, really dark like that. Okay. I'm going to add some water into this mix, a little bit of water. Drag that to the right-hand side like that. More water. You can just see. As I continue adding water to the brush, you get lighter. Lighter values. Okay. So the consistency, how much water you have in that brush really dictate whether you have a lighter or darker color of the same paint that using the same color. Okay. Now, if you have paints like this, this color e.g. which is pretty dark, you're gonna get a large range happening. If you're using a color like a yellow, it doesn't really work all that much with a yellow. There's not a huge tonal range. So if I use this yellow quinacridone, yellow straight from the palette, pretty light. This is probably the only yellow that I can dilute down and it works quite well. You can still get some, some tonal differences there based on how much water yet in. Okay. So as I move on, just adding more and more water. You can kinda see that a little bit of, a little bit there, but it's not as pronounced as you can see here on top. And even less so when you're using color like lemon yellow, for instance, I mean, it's pretty much almost the same tone no matter what, how much water you add into it. Very, very difficult to get too much variation. So that, and then maybe like that Just bit of water with a bit of yellow mixed in right at the end. Okay. So notice me just going backwards and forth as well, drawing that brush off. Because if I have too much water in there, it's just going to make a big mess. And this this is something that takes a lot of time knowing how to pick up the paint and pick up enough water to get that paint to a nice and lighter consistency, some more water in that paint and picking it up and then also drawing that brush because if you go in there and just dunk that paint straight into the bottom, you're going to get a large bloom. It's going to spread too much and certainly cause a mess. But you can see what's happening here. Now, let's try something fun and I'm gonna go pick up this whole area is already wet. I can go back in here and I can pick up e.g. bit of dark color, a bit of this purple. And I'm going to pick it up almost straight from the palette. So it's pretty, pretty pretty thick. There's only a little water in there and I can drop that in here. Look at them, Look at that. Look what happens. You get soft sort of effects. On this left-hand side here, it's dried so it doesn't move around so much. But on the right-hand side here you can see it's kind of starting to spread. Now, what if I add more water into this mix? It's add lots of water in there. Let's pick this up. I haven't dried my brush off. I've just picked up this paint straight from the palette. Let's drop it in here. Now look what happens. One, it's a lot lighter. And to the spread is more uncontrollable. By adding that extra water in there. You're just getting a lot more paint dispersed all over the place rather than get these thinner lines that still spread. But they mostly stay put in the areas and conform to that same area that you've touched the cake and still see these couple of lines here. Whereas here it just because all over the place. So consistency of paint, very important. If you want more control, wait for the paper to dry first and then go in with your second wash, whether it's a lot of water or not so much water, if the, if the paper is completely dry, you can get sharp edges. But if you're painting wet into wet, in this case where the paper is still dry. If you use more paint to water. So 80 to 90% paint to ten per cent to 20% water, you're going to get more defined shapes even though they spread. If you use more water in your mix, you're going to get lighter shapes, lighter, more abstract shapes are just spread out. And this is why people get frustrated in watercolors. Because you often using the wrong consistency of paint at the wrong time. If you want to paint yourself a Cloud, you want to paint it at this point here, maybe 0.1 or point to here. You're going to want to use maybe not such a dark consistency of paint, something in the middle of these 250 per cent paint, 50% water. And that will get you a nice, softer sort of cloud shape. Like maybe, maybe these two or something like that. But if you want to paint something like a tree, if you want to paint something like a shadow or a person walking around, you want their limbs to look sharp and stick out from everything else. You want to paint a boat that just sticks out a darker boat, e.g. you're going to want to wait until the paint has almost dried or pretty much dried like here. Step four, step five. And e.g. now this top one stopped has already dried so I can get in shape and look at that. It stays put. Regardless of the consistency of paint I'm using, That's pretty light. Or I can just go darker. It still stays put. It's these little boat things I'm trying to paint in here, even if I use just all this, a lot of water, lots of water. Check this out. It's still conforms to what you've added on with your brush. It's not going to move from there. 4. Timing: In this video, I'm going to be talking about timing and also the concept of paint consistency. How to make sure that you've got the right consistency of paint on your paintbrush to achieve the right result. A lot of watercolor is, find it very difficult when they're starting out. Because you just get this uncontrollable sort of effects. When you say you're painting a little bit of color here, you pick up a bit of paint and suddenly blooms, goes all over the place, or it creates too much of a sharp spot. So depending on what you're painting, it's really important to understand how wet the paper needs to be and how wet the brush needs to be. So what I'm gonna be doing first is I'm just going to wet this area of the paper. Okay? It's a bit of water and I've got a bit of grain there externally, but it doesn't matter. The whole point is just to wet this area. And you can actually see the outline of the width of the paper because I've added in a touch of gray just so that you can get a general gauge of it. Now, if I pick up some paint, a little bit of gray, alright, little bit of gray. I'm just activating that with about ten per cent water and 90% paint. I'm just going to drop this in here on the side like that. Okay. Notice what happens. The paint is rapidly spreading. I mean, it just depends. Move the sheet of paper round, but it just continually, continually spreads. I'm going to draw off the paper a little bit, and I'll draw it off the paper slightly. I'm going to pick up this same area of paint, the same concentration of paint. Drop it in here. And what you're noticing is that it doesn't run as much. That's because the paper has dried very slightly. So it's become a bit more depth. And when the paper is more dry, you get sharper sort of effects like this. And in terms of the paint consistency, I'm using quite a high level of paint on my brush in proportion to the water. That's really important as well. If you are going into an area and you want to create some win-win it fixed if you want it to be a little bit more controlled and the shapes to not spread out that much, you want to use less water on your brush. So in this case I'm using that 80 to 90% paint and only ten to 20% water. If I went in there and mixed a lot of water and then added it here, go all over the place. So it's very important to keep that high level of paint consistency, high concentration of paint on the brush. And if it's too much, if you've got too much water on the brush, simply just dry off your brush on a bit of tau as I'm doing here, or you can just add in some more paint in there. Okay? So let's draw this quickly. Okay, given that a little dry, Let's go in here. And again, it's a little sharper. And again, let's put in some more paint to the right. Okay, sharper yet, this will probably spread a little bit. Right at the end. You get really sharp sort of marks like this to the point where you can see the grain of the paper come through if you're using a type of textured paper. Okay. So I've used pretty much the same consistency of paint, which is mostly paint, about 80 to 90% paint ten to 20% water in all these little swatches here. But the variable that we've changed is the wetness of the paper. So you can try this same exercise by yourself. And what you can do as well as just paint e.g. for different squares, foursquare's. And firstly, drop in some paint in the first square. Wait a minute or two. Drops and painting to the second square in a minute between each of them. Just adding some more paint, see what it does. What this does is actually train you to understand timing and understand what happens when you put your brush into a bit of paper. That's a varying degree of wetness. Very important because if I want to paint something like some clouds or some distant missed, this is what I want to achieve. I want to make sure that paper is pretty wet. And before I go in there, if I wait until this step, it's going to look like a tree trunk or something that's just too sharp. We're even here. So the timing of when you go in to the paper in terms of its wetness, is going to dictate whether you get the shape that you want or not. So this is a quick demonstration of that. I'm going to go through a little bit more. 5. Understanding Values: In this video, I want to talk a bit about values and we're gonna do a value study on a black and white seen, which I think is the best practice when you're starting out learning how to identify different kinds of values. So let's go ahead and give this one a start. We look at the reference photo. You can see basically all the trees in the background are pretty dark and K behind the boats. And of course the top of the trees are a little bit lighter. So let's go ahead. I'm going to draw it in. Again, just a quick little rectangle like this. And we can put it in line the edges where the tree start. Everything in the background. We've got all this stuff here. Hey, whatever it is, I mean, all the way down like that. There are some lot of parts of the tree light here, but they're still pretty dark. So essentially the darkest elements of the painting are all in the backgrounds. If we look at the largest components of this painting, it's basically just all of the boats. So we've got a boat here. Okay. I'm gonna do this quite quickly as well just to get it out the way. So that's the top part of the boat. And you've got the bottom part which is dark, has a shadow cast to the right-hand side. There's also some darker bits in these little windows there of the boat. You've got another one in the background which is pretty light, right at the top, like that. Then as you move down, it becomes fairly dark. Then you've got another one here, really light as well. Okay? So you have essentially, you've got essentially the darkest values. Rod in the background here behind the boats. I'll do a quick shading with the pencil. Normally I don't do this. But it's just to highlight the darkness of the background. Vocal these boats and things here in the foreground, I just want to outline that one a bit better. This one too. A lot of contrast and shadows. And in the front there are some little bits of grass and shrubs and things like that. These are the mid tones, so they're neither really dark at the back. There, basically in-between the lightest of the lights and the darkest of the darks, just bits of grass and things like that there. You will notice that the trees are also composed of the same sort of mid tone. Plus this, I'm really lot parts of the trees as well. I'll other light area of the scene is the sky. So let's go ahead and we'll get this in. I'm gonna pick up a small mop brush. Maybe like another little one. Just use, I'll just use the mop brush. And what I want to do is I'm going to pick up just a dark color, just neutral tint, something simple, one color. And I'm gonna go get in the dark area at the back, can make sure that I've got enough water in here as well. It's still you can afford to put in a fair bit of water in there. The neutral tint tends to go a long way. Okay, look at all that. There's this darkness here behind the boat's going into the background. Let's go all the way and you can see it just kinda cuts cuts around the boat area like that. So really just this darkness. You can see. It goes up further to the side of the scene two, the side area there. Then as we go up, it gets a little lighter. Notice also I'm just leaving little bits of white on the paper. This could just, this is just to show a little bit of those really light highlights in this background area. So with the sun just hits these trees, bit of water now I'm just dropping a bit of water in and you can mix that onto your palette like that. Just pick up the pick up that lighter wash. And I'm just going to fill that in. Bring that down to just blend a touch with the darker color underneath. Like this. Pick up a bit of paint as well. If it's just too dark and look at that. You can just get in this mid tone softer. And I'm also just leaving a bit of that scratching us their background for some bits and pieces. This same wash I can work my way in also into the foreground and the mid ground. So this area here, this, I don't know, these shrubs and things. They're pretty light steel, but they're not as light as the boats there in the middle or another midtone ran the same value as that area. So going in there, add that Liza, the middle values of the scene and you find there's a lot of mid values, but you can, if you use one main mid value, that's generally enough. Okay. Look at that, and not only that, but you've got some in the water here. There's a little bit of, a little bit of darkness. They're almost the same value as that here. And of course there's little shrubs and things like that as well. You can just put in a few scratchy bits of things here. Doesn't matter, something like that. Another thing we need to do is get in some of the debates of the boats here at the bottom, this dark is pretty much the darkest area of the scene. From the trees in the back. You can see a bit of a shadow underneath that boat. Not only that, there's a shadow onto this boat as well. Going to the right hand side. There's one under this boat as well. Just casting a shadow to the right underneath. Of course I've done this a little, little sloppy. But you get the point which is dark in the back of that boat slightly here. And apart from that, the sky is another thing. You can just wet out of it that's too dark. Sky is. Again, it's not as dark as as the stuff in the foreground. Okay. So you want to just get a little light wash. It's mostly just water and a touch of that gray in there to get in a bit of that sky wash. So it's not as dark as this mid, mid value, and it's not as light as the boat as well. We've gotten these tiny little you can see tiny little windows on the back of that boat like that bit of line work there. Okay. So already with this quick value study, you've learned how to vary the amount of paint and water to make sure that you can create areas of darkness, areas of light. Identifying and looking at the scene and thinking to yourself what areas actually liked in which areas are the lightest and darkest. So that's what identified initially. The background here, dark and the boats, pretty much the lightest area of the scene. Sky is pretty light as well, but not as light as the boats. So you always just looking at everything relatively and making that decision, then you're getting that paint and mixing more or less water depending on how dark you want things to be, less water, then it's going to be darker, more water, it's going to be lighter. And you're going to need to experiment around with different mixes, okay, for this one. Again, like I said, if I'm using really dark dark wash, I can still put in a fair bit of water with neutral tint because it's quite dark. But e.g. if I was using green in the background, that might not be able to achieve that level of darkness if I was using too much water, even 20% water in that green, you're going to need to experiment around a little bit and try these value studies. Also use bit of scrap paper as well to make sure that you've got some different different mixes of paint on your brush to just test and see. And so that way you're going to know how much water to mix in to get a particular value. 6. Understanding Values Extended: What I wanna do now is I want to go through an exercise to show you how to identify large shadows and basically just large areas of shadows, large shapes on buildings that you can then use to form a easy wash over the first wash once it's dried. So this is really important with street scenes identifying that light source. So we're going to use this reference photo here to just highlight it. And I'm going to again make this quite a simplified St. just to highlight my point, a scene of Venice. And I'm just gonna put in a line here where the buildings I'm going to go in. Let's simplify this down. You've got a couple here. Bits in pieces. I always look at the buildings and try to think to myself, what shapes are they? There's a rectangle, there's a square. Simplify it down. Here. I'm getting in that left side of the buildings now here is where I'm starting to put in that shadow shape, that left-hand side there. Got more buildings here. And again, I'm not aiming for accuracy or anything like that. Just simplicity for now to highlight my point side of the building here. So again, it'd be a partial, partial view of everything really here. Just trying to get in the rooftops of the buildings. The mechanic cutoff, not able to get the mean really. Here. This is the dome at the top here and top of the don't like that. Simplified down, of course. Second little dome here. Again simplifying down. Okay. There we go. A little windows on then and tower here. Oops. Like that. Now the light is going to be coming in from the left-hand or the right-hand side. So what's going to happen is that you're going to have a little bit of the shadow on the left of the building in here. What I can do with just color in some areas and the left sides of these buildings that indicate this darker shadow. And I'm joining it up like look at how I'm making the shadow is large. This darker shape sort of emanate through the rest of the scene. And I might have some underneath here as well, some darkness underneath here. So this is the that large shadow shape. Large dark value that you want to try to identify when you're doing any type of watercolor landscape. Basically, you want to just identify the light source and make sure that the shadow matches that. So you can see how the shadow just goes all the way up, even on the side of this building. And a good way to also figure out whether to simplify a scene down to values. You can convert it on your computer, just black and white. Now I think you do look at a look at a photograph and just squint your eyes squinted or photograph. It simplifies the details and brings out the contrast. So really, it makes it more easy to see some of these bits and pieces, this darker shadow that runs across all the buildings. So that's what I'm doing here. And here across the ground, you will find as well that there is actually, there's actually a bit of a bit of darkness in the water that actually connects onto the shadows of the buildings. But it's kind of like a lighter, still fairly light. Well, we can conjoin that on a little bit like that. Okay, so we've got that in like that. Let's go ahead and work in the lighter areas. First. We've got all the docs planned in from working it out from that reference picture. So I can go ahead and pick up some. I'm just going to pick up some of these general would you call it titanium color. Drop that in there just for some of the buildings. Okay. Don't need much at all. Just a light wash light little wash like that. And another thing I can do, it's probably add some burnt sienna on the rooftops like that. Touch of burnt sienna and some of the rooftops. Okay. Maybe a little bit of warmth. Just pick up a little bit more warmth to drop into the buildings as well. Touch of warmth into the buildings. Simplified down. Okay, now let's work out the rest of the values as well. The sky really light wash of cerulean. So I can just pick up a bit of that cerulean blue from the palette and drop that straight in. It's mostly just water in this mix. But with cerulean blue, you do find that at the end of the day, it is very, very light anyway, there's no way you can get that dark. Bring that across the scene. Here. Just cutting around the dome. Like that. Okay. Pretty light the values in the sky. I pretty much just as just as light as the lightest values in the buildings. Drop that in and make that bit of that blue. Okay, fantastic. And we can go into the water now and just adding, for instance, some darker blue. I've got some ultramarine, which I'll mix up with some black as well in dark color with purple. Maybe. You just want to call a sort of color running down here. Okay, let's just get that cool color. Like that. You kind of got like a mid tone here, a middle, mid value here, and the water. Lightest values on the buildings, especially the whiter side of the buildings, have not kept the 100% white of it. Again, you can just leave the paper if you wish. But I've colored all into simplify this two washes. And a bit of the light on the sky, which again is mostly just water, and give it a dry hay. So now that everything is dry, remember that large shadow that we penciled in before? Large shadow shape. I'm going to pick up a bit of dark color. You can mix up some purple bit of black. You can mix up some gray as well by mixing you three primaries together. So I might example, pick up a bit of this red. Let's mix in a bit of blue and a touch of Hansa, yellow like that. And that will give you a kind of a grayish color, maybe more blue like that. And we can get this in, get that shaping all in one go. And again, we want to make sure that the concentration of this is right. I'm just adding in a little bit more water. Okay, and this makes it easy. So you can now just go on top of these buildings like this. And also in the shadow areas of the buildings here. Here the left-hand side of them. Like that. There's also even these little windows and the buildings like that. That's how simple it is. You just connect up the shadows and also the areas behind the building like that just joins on like that. The little bit of details on the buildings through here, this is maybe a little shadow on the left-hand side of the dome. Just exaggerate that a bit. Here, underneath here and here. But as you can see, it's just one shape that just joins on to everything else and allows you to create a little contrast in here. Okay? So just one big shadow shape. Drawing off the brush and bits and pieces. Sometimes when you've got too much water on there, you don't want it to to mix around too much. Just add some dry off that brush. And here you can start putting in things like darker colors. I've just picked up a bit of darker black here. And I can think, okay, well, why not just add in the sharper, darker areas of the, of the buildings. Now, here, we're here in a couple of windows or something like that. Okay. Mostly starting already to dry underneath the rooftops and things. You're gonna get a bit of extra darkness like here. Tiny bits of this stuff here, these little windows that you can just imply by dropping in a bit of darker paint. Sometimes on this side of the building as well. You're gonna get a bit underneath the dome, a little bit of darkness like that. That even in the background, you'll notice there's actually some shrubs are some trees. Now you can pick up. It's really just to be green, desaturated green. I'll just drop that in here. In the background. Carry that through the scene like that. Kinda looks like this. Some trees or something often in the back. Okay. Now notice the water does need to be dark and the beauty of extra. So I can go in there and just dropping a bit of more water, more darkness into the water with another layer of purple or blue, whatever over the top. And that's how you sort of alter the values as well. In the scene. Can leave out a bit of color there for like some boats or something like that to parent, but just a couple of shapes like that. Join that onto the shadows of the building and touch as well like this. Okay. Quick dry, a few little finishing touches, picking up some darker paint. And I might just want to maybe draw out some color on these pretend boats that I've put in here at the front so I can maybe get in a gondola or something just a bit more more of a something like that. You can make this a sale like a master or whatever as well. Okay. So just kinda play around with it. I think I want that actually up the top there. It doesn't matter. Mask. Now you can put in a few other darker darker boats and things off in the background. Okay. Something like that. Even put in a person up here just standing on the gondola perhaps and they are holding on, could turn that into like the little paddle. Okay. Sharper shapes for the waves just running across the scene. Simple little waves. This is with the final really dark value you can see. So I can just go over the top of everything with the blue and bring out, bring out some final, final shapes and details. So if we review what we've done here, you can see all the way in the background of these birds. We've got this really, really dark value that's contrasts against the boats. This is the large dark value in the background. You also have a darker value here in the foreground and the midground, not as dark as the background, but maybe as dark as the trees at the top. And so we're kind of carrying that down. The page is a little bit of a join here where it joins onto the boat and then joins onto the background. But you can see as well that shadow just joining on the darker shadow joining onto the lighter shadow. Again, altering the amount of paint on the brush and making sure that we've got less water on the brush if we want a darker value and more water if we want lots of value here, this is a monochromatic study and then come over here and we're looking at this painting that we've just done. You can see here, I've obviously just got an older, lighter values here in the background. The sky on the buildings or this warmth of the buildings. The k, this little statue here in the background. The water is more of like a mid, mid, mid value, midterm. But the sky and the buildings there got that in, in one wash. A little bit of the water had to do that a second time just to darken it a touch. Then we've gone and gotten that large shadow shape as we can see, it starts all the way to the left here with these trees, joins onto the little part of the buildings. Behind the buildings starts going through to the left side of these, these sort of rectangular buildings here, here, here, up until the domes, even like a, but notice how they interconnect with each, with each other and we're getting it all in one go. Then finally at the end we can add in some little dark spots to bring out the final dark, darkest areas of your scene. 7. Techniques - Washes: So what I wanna do in this video is I want to go through and talk about the different techniques that you'll need for this class when painting urban landscapes. And these are most of the techniques you need for any watercolor, landscape, or even portraiture. 99% of the time there are a couple that I won't cover, but again, the ones that I'll cover today, we'll get you through for almost every painting that you decide to paint. So let's start off firstly and talk about washes. So there's two types of washes that I'd like you to understand. The first is a graded wash, and the second is just a flat wash. Will do the flat wash first, it's just a bit easier. And a flat wash essentially means using one paint, one consistency of paint, one color. All the way through. So over here, I've got a bit of ultramarine blue that I've just mixed up. And what you wanna do is make sure you've got enough of this color. Having a look at the page here, I've got a fair bit of a quarter of this sheet of paper, so I'm going to need enough paint, so I don't have to go back and mix some more coloring. Again, try to create this same mixture and you want to have enough in there that will get you through. That's very important because if you start mixing other colors in there, going back and trying to remixes same color, you never gonna get the same color, one. And it's going to also cause a bit of an issue because this will start drawing as well while you're trying to figure out what the paint mixture is. So I've got about a mixture of maybe 60% water and 40% paint. And I'm just gonna go start up the top here, look at that. Just 11 little line up there. And notice as well that I've got the paper and a slight tilt. This helps the water flows downwards. And watch what I'm doing. I'm picking up that bead just underneath like that. And it starts to come down again. Can you just picking up that same bead of water all the way through and you're trying not to touch that paper too much. That's why it's important to use a large brush like this one. This is like a watercolor mop brush. And it stops the, stops you from essentially fiddling around the paper too much creating texture where you want it to just be completely flat like this. So paper tilted, same consistency of paint. And we're trying not to touch the paper too much, just pick it up right underneath, right underneath where the, the BDS look at that. We've got pretty much the same consistency and the same color all the way through. That's your flat wash. You can do this with any color. I've just chosen to do this with a bit of blue. Now what we're gonna do is we're going to do graded wash. Graded wash starts off darker and then it gets louder as you go down. Or alternatively, you can start off light and go darker, going to use blue again and ultramarine blue. I'm starting off with a very heavy mics at the top. This is probably 90%, 80 to 90% paint and a little bit of water in here. Look at that. It's really, really dark. What I'm gonna do straight away, I'm going to pick up a bit of lighter paint by mixing some water in there. And I'm just going to drop that straight in underneath. And look at how it starts to blend, starts to get lighter. I'm going to add some more water in here. Okay, so you slowly increasing reward or content. By this point it's maybe about 50% water, 50 per cent paint, but at the top it was mostly just paint. Okay. Some more water. And I'm going to continue down like this. And right at the base, I'm almost I'm just going to pick up some clear water like this. Okay. So you can see get fairly light at the base compared to the top and have a bit of a smoother gradation as well coming down. Okay, let's try it again, but we're going to use, we're gonna be using two different colors. So I'm going to firstly grab some, Let's get a bit of that blue again. And we're going to try to blend them together. Okay, so we've got some blue start off right at the top, blue, ultramarine. Drop that straight in there. I'm gonna come down the page. Now, as I move down the page, I'm going to pick up I'm going to pick up some yellow or orange, maybe a little bit of orange. I'm going to drop that in here. And you can see it just start to blend around this center point there because the paint is still wet. I can carry this further down like that. Okay. A little bit more in the center point there. Help it blend it a touch. Okay, That's essentially it. We can even do another example. Let's practice again with just a graded wash, one color. We can maybe just use, what can we do? Maybe use a bit of mixture, some grayish color on the palette. I've got a lot of water in here. Let's use some neutral tint. Just a bit of gray, dark gray or black paint because that's really, really dark. This is Payne's gray actually. Really dark. Value up the top. It's almost the same as the paper itself. I mean, I don't have any water in it at all. It's a little bit now I'm just dropping a bit of water into that mix. I'm going to carry this down. Okay. And again, just carry that washed down at some more water. Carry that down at some more water. Carry that down at some more water, a little bit more water, carry that down and some more water. And just keep on moving the water down the page. This one's turned out a bit better than the one on the top, right. Okay. Whoops. Like that. Carry that down the page like that. You've got this kind of transition between the darker paint and of course the lot of paint. Down below. I've got a couple of examples here. We've got a few graded washes, and that's your usual flat wash. The graded washes important for some of your urban scenes, especially when you want to imply that there's a bit of a sunset or maybe some darker clouds at the top. It's starting to get towards evening where the sky is pretty dark. You might even have like a bit of yellowish, orangey color or pinkish color on the horizon line. So you need to understand how to add more water into your mixed create a lot, a lot of wash. While the paint is still drawing. 8. Wet in wet and Wet on dry: So we're going to try a couple of things. Now. I'm assuming this top one has almost dried off, so we can play with that in a moment. But we're gonna do some wet in wet techniques. Wet and wet is a really important technique when you're trying to get in soft shapes. So things with undefined borders, little bit softer sort of borders, things like clouds, things like some shadows, soft shadows on the ground. So what you wanna do at this point, these areas are starting to dry. Now. You can go in straight away. Or what I like to do at times is I will just give the paint a little spray with a little spray bottle like this. What this does is that it just wets the surface slightly, but it doesn't mix all that paint together to create create a lot of mess and create blooms and anything like that. So it's just slightly wet on the surface. And I'm going to pick up some paint. And this is a really important stage. You want to make sure the paint is thicker. So over here you can see it's very thin. I don't want to go in with this consistency of paint is going to cause blooms. That's about 50% paint or even, even less like 40 per cent paint, 60% water. So we want to go in with more paint, thicker paint. So I might pick up e.g. a bit of purple. I've got a few purples to really choose from. And I'm picking it off straight off the palette. I'm mixing it with a little bit of water or you can use it straight from the palette. Just depends how dark you want these areas to be. And I can just drop it in like this. Okay. Just dropping that paint and see what happens. Okay. This could be, I don't know, it could be like a cloud or something like that. Alright. Bit of darker paint and move that around, shift that around. Okay. This could be just a big cloud or who knows, but as you can see, the borders are quiet, soft, and you get these misty like effects when the paper is, the paper's wet. Let's try again. Let's let's go ahead with a different color. Let's make some more brownie black color. Brownie black color. And we can do it here as well, just dropping a little bit of color. Sometimes you might want to use this to indicate distant things like distant mountains, distant buildings, all barely visible. And because it's, because the edges are quite soft, as you can see, it doesn't really, it doesn't really stand out too much. Okay? Create even some little shadows like that. That's like a little quick shadow here in the foreground. That's something we don't want it to be. Too much of her, too sharp of a shadow, but you want to increase the darkness down in front. You can do something like that. We can have a play around here. Now this this area is slightly damp. And so what that means is now it's not going to spread all that much. So I can go ahead and pick up, Let's see what happens. In fact, it's pretty much dried off, but it's kind of like a damp little bit damp, especially at the base here. You get a little bit of fairness around the edges, but it's mostly, it's actually mostly dry. Just at the base here. A little bit of fairness. These could be, I don't know, some buildings, so just make it up. That now going through and say, looking at the final one, we're going to be picking up some darker paint. Doesn't matter really now. But this area is completely dried in our first flat wash. So I can actually go in there and do something like create some silhouettes of buildings or whatever. This might be. This building here in the foreground here. Okay. Another one. Just notice how it's sharp. You don't get all this softness and color moving all over the page like in these two. And these two, because the paper here is mostly dried, it's kinda Deb and this one here, it's completely dry. You notice that you get these sharper looking shapes. You can use this to your advantage to create an paint things like little building, sharper buildings in the background and use it to create details like that. That just could be some buildings in the background and, um, it could be, I don't know, like a road or something like that as well. Okay. So it really depends on what you're, what you're painting, but it's important for you to practice these techniques in terms of your washes. And I'm working in those washes again by dropping in some extra paint to create some software and weird effects and also waiting for it to dry at different points. And getting in some different little sharper effects like this. And you want to, at some point wait for it to dry at different levels. So you might want to wait for it to dry 50%, 60%, 70%, completely dry it 100%. And then you can get your brush and then just see what happens. I find that if you paint into the areas while it's about 90% dry, it actually looks better. I find it's better when it dries anyway, just looks a little less sharp and a little bit blended, blends in a little bit more so it feels more natural. So you find a level that works for you with the sharpest techniques. 9. Other Techniques: Okay, So with these same examples, Let's go ahead and figure out and work on some other techniques now, first one I want to show you is dry brush. Dry brush is important when you're creating little, little details, little textures. And for this, I'm going to pick up some darker paint, just some neutral tint you can mix up whatever dark pink you watch. Anything that's close to a gray can mix the three primaries together. And I'm picking up that paint straight from the palette. And then what I'm doing is that I'm actually drawing it off on a little towel and I'm getting that brush fairly dry. Now what I can do is I can say putting on a pole here something, a little little light pole, the street. Okay. Okay. How quick that is. It can use more paint and get the brush pretty dry. And as you can see, this, the faster you do those brushstrokes, the more of the paper that you expose, it kind of leaves these tiny little, tiny little areas where on the paper where it skips like that. This one in the foreground as well. We are a few here in the background. You smaller ones there in the background like that. Okay? And it just creates a little bit of texture, a little bit of detail. Especially when you're painting small things like that. What you don't want us to get in, a really sharp looking one. And all of a sudden it just looks out of place with everything you can do things like putting Windows as well. And I'll pick up a little bit of a bit of paint. And the brush is fairly dry and I'll just feather that in. Just wipe that brush off pickup bit of paint, wipe it off on a bit of tau, then just do this. Drop in the room windows. So you can see it looks a bit more textured. It's not completely colored in. Okay, hard to see, but there's just a little bit more texture that you can see running through the paper. That one's a good one. A little bit of dry brush. You can go back and forwards between areas as well, something like that. And another thing you can do is you can use a scumbling technique where you just pick up a bit of bit of paint, dry off that brush. And you're just kind of flip the brush three areas like this, like that. And you can create little textures and details on the buildings by bringing out the texture of the paper. You can see that just a little bit of the texture of this, of these buildings and it works quite well if you're using this technique for subjects in the foreground, it just gives them a little bit more texture. And also if you are painting things like rocks or whatever, works really well to very subtle sort of technique and the mouth and thicker paint you use Look, you use pretty thick paint. That and this will create just a little dry marks. And it's the way you do it is you just the flicked that brush all over the place. And it could, e.g. indicate things like trees or it could be like a tree leaves or who knows. But I think it's important to use this technique at times. You can even use it in the background, just a few little things to indicate details. And I'll make it makes sure that I go lighter in the background as well then I do in the foreground. It helps to push it, push the scene back further. One thing I'd like to do when some lessons a lot like to add a sense of smokiness, a bit of atmosphere in the background. And what I'll do here is I pick up a bit of gouache. This is just some white wash I talked about in the materials materials section. And I can just pick it up like this and drop it in to an area in the back. Let's just give it a little spray down there and look at how we just spread it out. And it appears there's a bit of smoke or something there in the background. A little bit of white gouache, and I do add in some gray sometimes as well if I want it to look a bit more smoky. Okay. It could be missed, it could be smoke. But you can create a little scene where it just looks like there's potentially something at the back there. Just a bit of smokiness. And it helps to dull down some of these colors as well, blend together with the lamppost to create a bit more mystery. And I'm just combines everything together nicely. And when this dries, it's actually a lot more dispersed. But that's how I create smoke. Just a touch of gouache in their works. Very, very well. Something I do from time to time is that I also use some lifting techniques. And lifting techniques are important if you want to create a little bit of highlight on a building or just blend areas together. So what I usually do is that I pick out a brush. This is actually a brush that's used for blending. It's called a filbert brush. You don't have to have one of these. You can use a normal round brushes as well. And what you can do is I just pick up a bit of water on the paper, on the paintbrush and dry the, dry the paint brush on a, on a towel, bit of tau so that it's fairly dry. Then what you can do is just scrub away at areas like this. Okay. E.g. if I want to create a tree or something, I could just scrub away the paint and bring it bring it up with or something like that. Dry off the brush again. Continue on. Scrub off a bit of that paint like that. You got to wait till the paper is almost completely dry basically. Otherwise it's going to just spread all over the place. And you can see here just a little bit of water. And you can move and shift this around, okay. If it's not loud enough for you. Another thing I suggest is to carry a little bit of tissue paper with you and you can actually lift off additional paint with this. Just depends how obvious you want that lifting to appear. I mean, for this one, I've just haven't bothered using too much of the tissue. Just more wanting to get it wanting to get it to stick out a little. Let's do it again. I'm going to pick up bit of water and I can just add in a little bit of that water and just scrub away here. It's getting another tree shape or something that bring the never this is the tree trunk or whatever up there. Bring that across like that. Okay. It more scrubbing and just creating shapes of these tree, some really subtle shapes of these trees. Okay. Just by adding a bit of water in there and just scrubbing around here, I'm going to create maybe another two branches going off as well. Is one going up to the top. Okay, you can really create a lot of detail. This type of thing. It's really fun technique to work with sometimes. Sometimes if you've just got an area that you've gone into dark, don't have to worry. You can go back in and pull out some highlights from the buildings and they'll just start popping out of the darkness, similar to how these little trees are. Again with the tissue. You can dab that tissue in and look at that comes out, looks a bit more a bit more obvious. Just feather the base of it a little bit to help it mixing with the ground. Okay. But that's it, that's your essential essential lifting. I can also do some on this side so I can pick up a bit of water. And let's say I want to just scrub out a little bit of paint here to create a window like that. Little bit of light. There you go. There's a bit of a window up the top here. Maybe I want to create a bit of highlight for the building here and down the side of the building. Okay. Notice how I just got to add in a little bit of water and just scrub not too much water. If you use too much water, it's going to turn into a mess. Okay? Just gonna go all over the place you want to use just enough water on that brush and dry it off on a towel so that you don't get gigantic globs of water running through this entire scene. Here. E.g. I. Thought to myself, actually some extra highlights here might be good. So I can just scrub away this area. Let's have a look what it can do. Maybe bring back some of that light their side of that building. Maybe here, just scrub a little bit there. More water. More water. Move towards the base. If I'm imagining some light coming in from the center of the scene, you get a little bit, a little bit of this light coming in reflecting off the buildings like this. So watercolors to a extent can be corrected. You don't want to be relying on this. You want this to be a kind of finishing finishing thing right at the end of the scene. I'm going to talk a bit about scratching. Scratching is a little technique that I like to use to also bring out highlights. And normally what I'll do is that I'll actually wait for the paper to dry about 80%, 70 to 80 per cent. Re-weighting this paper. Normally I don't do this, but this is another way that you can scratch out and lift paint. Also. Just the paper needs to be slightly damp. If it's not damped. If it's not damp enough, you're not gonna be able to lift that paint off. It's just going to scratch away at the paper if it's too Deb, what's going to happen is that the water is just going to run back in to those areas so I can try something. Let's have a look. I might try up here actually know or even here. I'm just looking at where the paint is dried. You just having a look at the areas to see here, e.g. I. Might be able to scratch off a little bit there that so you can see how just with a little blade that I have here and the paper is almost dry. You can scratch off a tiny bit of color to indicate a tree or something like that. They're these areas and I pretty much dried. So there's not much I can do there. But any areas that are slightly wet. You can use the point of a blade. You can also use a plastic credit card as well. That works quite well. Okay. I just have gotten used to using a little blade for this. Okay. And you can actually bring out some little highlights where the paper is dry down the base. You can also just scratch onto the surface of the paper and review a little bit of the white of the paper. And you are actually removing parts of the paper at times by doing this. But this is a little way, a little shortcut secret that you can use to just get back a bit of the, the highlights whenever you're painting. Okay. Middle highlights. Tiny little bits here. Okay? It's an alternative to using gouache right at the end. Just these little bits of highlights and I like how they appear. Sporadically. They're not like a sharp all the way through highlight. It's kind of like a lot just hitting parts of it and becoming separated. So that's one way Now we'll go into here and this area has yet, it's, it's **** now. And notice how you can really just go in there and scratch off, scratch off some paint fairly easily. Just sort of move through that scene. Here. I can scratch off a bit more. Okay. Bring that up. Okay. So there are things like you can create, like traffic poles. You can create little highlights on the sides of buildings, larger ones. Sometimes you can create these little, little guiding lines on the buildings as well to indicate the perspective of the scene. That the sides of the buildings and Windows, you can scratch off a little windows as well on the buildings. Okay. So it's another technique that you have at your disposal when it creates texture, it creates some different marks on the paper. Because when using watercolors, I think having a variation of different marks is really potent, greets you at what makes it look a lot more interesting. That's about it for this technique session. The main things that you need to remember, the wet and wet and the wet on dry techniques. Also some of those washes, the flat wash and graded wash that we did in the beginning, cover this more, in a lot more detail with each of the demonstrations so that you know how to apply these techniques specifically to the scene that you're painting. But hope you've given all this ago and even try it again a second time round if you are still feeling you need a bit more practice. All this stuff here is really important because if you wait until you get into your painting to actually practice doing these techniques, it's gonna be very difficult to treat for you to pull it off. So make sure you practice a little bit. But again, remember you're gonna get a lot more practice even in the demonstrations later. 10. Colour Theory: Okay, In this video we're gonna be talking about color theory. Little bit of the basics, some of the mixing techniques that I use, and why they're important in order to compose, making sure that you're painting has an interesting, vibrant mix of colors. So what I'm going to firstly do is we're going to talk a little bit about color theory. Now, if you look at the main colors here that I use on my palette, I have them all organized in terms of warmer colors. Warmer colors, meaning things like yellows, oranges, reds, even this color here I would classify as a warmer colors has been off-white. Then it starts going towards the blues, okay, excluding say, some of these browns that goes blues purples and then finally, a Payne's gray, which is like a bluish gray. So these ones are consider, with the exception of your browns, cooler colors. It's important in your paintings to have a balance of warm and cool colors, especially in a usual scene from a photograph, you often have things like a blue sky and in the buildings maybe a little bit more of a warmer colors for the Greeks, the ground, especially if it's a sunny day, you get a bit more. Yeah, just some warmer colors in the ground. So you're going to need to make sure you understand how to balance out these colors nicely and effectively. So let's firstly go through a little bit of the colors that I use. In terms of color mixing these two elements of color mixing this how much water that you put in the actual paint itself, the dilution level of the paint. And then there's also a little bit of color theory side of things to say, if you want to mix yourself a green, green, if you look at the color wheel, on the sides of green, you have a blue and you have a yellow. If you ever want to mix a certain color or you need to do is essentially look at the two colors besides it, assuming it's a secondary color. So primary colors are things basically your blues, reds and yellows. With a blue, red and a yellow, you can pretty much mix any other color out there. So let's have a look. And I will say, let's mix up a purple. So I've already got a few premixed purples. And in fact, I actually have my secondaries already pre-mixed it just for me, it makes things a lot easier so I don't have to go ahead and mix it up again. But you don't need to do that. All you need is basically, here's just a bit of ultramarine. And say I want to mix in a little bit of yellow. In here, we can make ourselves a green. Let's pick a bit of this. Here. This is a bit of hands, a little bit of Hansa yellow mix that in with that blue like that. And we have ourselves a bit of green, a little bit of green here. And of course, it really depends what type of green you'd like. I mean, if you want to mix a green that has a little bit more darkness in it, a little bit more of a bluey tinge to it. Just add more blue. Okay, so I'm just adding more blue in here and then you're getting more of a darker, leafy green, even something like that. And you can see just by darkening, spreading a bit more blue, you get a darker green like that, more yellow. And of course, you're gonna get yourself a very, very light, very, very light green. It's almost the same as the one above. I find with yellows, you have to be really careful because you can often accidentally mix, mix some green with it if you're not if you're not careful enough. So the few different greens, I mean, you can even mix in a little bit more of that blue. Let's see what happens. Just mixing some more of that blue and we can get more of this darker sort of phthalo blue. It's definitely more towards the blue end, but it's still green. Okay? Or is that one's more balanced at 50%, 50, 50, blue and yellow. That's more yellow to blue. And that's like a little bit probably about 25% blue and the rest of it yellow. You'll find that with these darker colors like blue and what have you don't need a mixing too much tends to overpower and it makes things quite dark unless that's what you, you want as well. Let's go ahead and I'm going to mix up myself. A bit of, oops, should be doing that, but let's mix up a bit of purple. I just picked out a bit of purple by itself. So I've got some blue. Okay, let's pick up a touch of red. So again, on the color wheel, we're looking at purple and what's on the opposite sides of purple or red. And this blue. I'm going to pick up bit of red here, drop that in. Okay. That's kind of purplish like that. And it's kind of really light purple color, desaturated purple. Okay, let's put in a bit more of that red. And it really just depends as well on the specific read that you're using. Okay, I'm just mixing some more of this blue in there. Just a bit more of that blue. And here we have a bit more of a darker purple, bit more blue, more Ultramarine in there. Okay? So you can get some darker blue in there, okay, compared to that more desaturated purple there. Now, an interesting thing in terms of making colors look a little bit duller, we need to do is just mix the opposite color on the color wheel. So if we look at purple, What's the opposite of purple? We look in the opposite side of the color wheel. It's actually yellow. So I can pick up the yellow, the palette and just drop it in there. Drop a touch of it in there. You don't even need to do this because you can actually go back the palette and mix some yellow into this purple here, e.g. we just mixed a bit in there like that. And even have a bid on this side. And you can mix yourself up a really desaturated purple here. Okay? The saturated purple, Let's mix up a saturated purple game, bit of blue and a bit of red, ultramarine blue and a bit of red, bit more blue in there, a bit more red. Let's have a look. More of a saturated one. So let's compare that. Really, really, really purplish compared to that one there. I've actually tried before just to drop in a bit of yellow in there. And that's the saturated that one quite a bit as well. You can see it looks a bit grayish like that. One. Tends to get these kind of grayish brownish colors. And why is this important? Because what you find is say, if you are making a painting a shadow and you don't want it to be too Gordy color. You don't want it to be really, really purplish. Make sure you add in some of the complimentary color, a little bit of the yellow in there that can help. It's also just a stylistic thing. I, I tend to just use the colors a bit more saturated. I'm moving towards using less saturated colors though. But that's something that's, as I said, a stylistic choice for you. 11. Colour Mixing: One thing to keep in mind with watercolors as well is understanding the amount of paint and water mix. So if you e.g. have yourself a lot of water in your paint. So let's pick up, I'll just clean this off first. But let's pick up, say a, a bit of gray. We use some gray, right? And this is just a Payne's gray. Okay. If I put it in a lot of water in here. So I've got about ten per cent paint and about 90% water. In this mix, you're gonna get a very watery and lighter mix of gray. The more water you add in there, the more lighter the paint will be. Essentially, I love to have large mixing areas. Also for just being able to mix large washes, having the freedom to combine multiple colors as well, especially when you're painting large. Now let's have a look here. This is a blend of that 90% water, 10% paint, very, very light, very light gray. Let's add in some more paint, a little bit more paint. Let's try this now. It's darker. A little bit more paint into the water. Now the paint concentration is increasing more and more. Okay, like that. Some more paint. It's adding a bit more here. Just getting darker and darker really. Let's try this one. Oh, this one's getting pretty dark. Okay. Let's see if we can add some more and see what happens. Pretty dark. Here. I can't really fit it in. I can put it in here maybe, because that's pretty much the darkest tone and darkest value you can get. Experiment around with different colors and see the different values that essentially you can get. And this is really, really, really important. And some colors will have a larger range of tones and values. Usually the darker colors will have a huge range. Whereas if you pick up something like a yellow or orange, we can experiment with some orange, e.g. just here. This is find a clean bit of area like that. Let's mix a lot of water in here and drop that in here. This is a light orange. Lots of water, even less water here, maybe like that. So lots of water. And maybe I can even get in a lighter one like that. That's pretty laterally the lightest you'd want to go with the orange. And as you add more paint in here, watch what happens is you get some darker mixes of this orange. But really the darkest would be this. There's not really much difference between this and this. It's hard to even see camera that's only slightly, slightly lighter. So you might be able to get 34 different values out of the orange, but with the gray or dark blue or even a brown, you can get even ten very distinct values depending on how much water you mix in there. So this is a really fun exercise to do and to try to mix as well all these different colors. I always like to do little exercises where I will draw squares on the paper and use this as a little testing, testing areas for mixing colors. Okay? This helps you to understand on a practical basis how colors mixed together. So it's important you practice quite a few of these little things. Now, another thing I like to do is let the colors mix on the paper itself. What does that mean? Well, well, firstly, I can just wet this one. The other one I'll leave. Okay. But I'm wetting this with just some normal clean water. Alright. Let's say we want to get ourselves in a blend of orange and a bit of purple. Got a bit of orange. I'm going to drop in some orange there. Look at that. It's just blending in nicely in the ground. This is a ground area or whatever I have here, a little bit of that orange and say up the top, I just want to add in a bit of purple orbiter, this bluish gray color. Okay, Look at that. You can just blend that in and let them mix and come together themselves. Okay? Can even just getting some darker elements like these are just add extra paint up the top. Extra elements of darkness at the top like that. Okay. Make some downwards, even downwards into the orange down here at the base. With this way, you can really get so many different variations of color. Then you can get here on your palette. When you're mixing on the palette, you're basically just trying to get an exact color. You're trying to control the variables a lot when you're doing it here, you try to get things to blend together and create variations and a lot more interests. I use this at times to create extra details. Let's try on some completely dry paper, see what happens. I'm going to use pretty much the same colors, maybe a bit of purple in there. Let's go with a bit of purple color at the top. That purple. And let's say I want to, we'll mix some more of this orange in here, a bit of the orange reddish color, e.g. down below. You can mix that in. It's still the paper is still wet. In the in-between. You get most of the mixing in the center area. Okay. But then the rest of it pretty much stays whatever color you put it, unless it runs into that area, that one is a little bit more uncontrolled. This one is slightly more controlled because you are starting out with dry paper to begin with. So sometimes you might want to, e.g. getting a bit of the sky mix and then drop in a bit here for some distant mountains or something like that because you don't want the sky to just end the mountains to blend together too much. So that's a good way to control it. Let's try a few different mixes. Let's try some fun mixes. Let's few different colors like this here could be some brown I've just picked up a bit of brown are found on the palette. Let's drop in some of that brown. And then let's drop in some corners a bit of this gray color in here. Let's see what happens here. Darker, darker color. And what you're doing. You're trying to see some patterns here. When you're mixing some darker colors with some lighter colors and just feathering it into areas. And seeing what happens. Seeing how much the paint spreads, and how much do you need in there. This mixture of paint is still a lot of water in there. But at the same time, you've got a lot of darkness as well. Right at the bottom, I could pick up something like a got this color here, which is a lilac color. I'll try some of this lilac color. Okay, it's a lighter lilac color. Let's mix that in and see what happens. Okay. You can find some interesting mixes that just look good together that you didn't think would really work. We wouldn't have thought about. So it could be something they're two or three different colors in there. Okay. It's important when you're mixing colors as well, that you're not using too much water. If you put too much water in here, everything is just going to split us spread out to a huge degree. And let's go and I'll show you what happens if you just completely wet the bit of paper dropping. Now this is okay if you're doing things like sky washes or perhaps something that doesn't require much control. But watch what happens. It's completely papers completely wet and say I'll pick up some orange and I just drop that in there. Look about it just mixes quite a lot all over the place. Some more of this gray and just drop that in like that. You get more fluidity. But less control. A lot less control. Because all this is essentially going to run into each other. So it really depends on what you're painting. I tend to wet the paper and leave it to dry a little bit though, if I'm doing large washes where I'm painting like e.g. a. Sky wash and then a bit of a sunset normally actually wet the paper quite a lot like that because it makes it faster. If you can see how fast the paints just mix on the paper, you can easily get in a mixture of a sunset, sunset scene. So a bit of sky, cooler sky and some warmer colors on the base. So these are a few examples, just a bit of practice where we've talked again about color theory, a little bit about mixing on your palette and also on the paper, talking about warm and cool colors as well. And making sure you've got a good combination of both warm and cool colors. Let's go ahead and do a quick demonstration highlighting warm and cool colors. 12. Colour Mixing Demo: Okay, This is a little scene where we have ourselves a building and a bit of a walkway. So let's go ahead and work out. How are we going to get the different colors and choose which colors and understand a bit of the mixing as well. Okay, so I'm going to just draw this in real quickly. Just like a box shape like that. It doesn't have to be much. This is just demonstration purposes. It's getting a bit of this shade or something here. Windows, bit of some more here, some chimneys and all this stuff here. Here you've got a bunch of these buildings that just overlap, these warmer colored buildings here in the background, like a little indication of that. But apart from that, not really that much. There's a nice little shadow being cast by the building actually over here. I'll just color that in a little bit to remind myself. And joins on the shadow actually joins onto the building itself. Got a bit of the side of the building sort of showing through there as well as you can see. Side of the building like that, that darkness there. Okay. Some figures, but roughly that's what we've got for a quick little sketch. And what we're gonna do firstly is think to ourselves, Well, what are the cooler sides and what are the cooler areas of this painting? What we've got the sky. That's pretty much, it's almost it and maybe the shadow. Okay, so let's firstly go in and getting some colors on the buildings. I'm going to work and have a look at the buildings. And C Look, we've got some maybe some yellowy colors. We've got some orange, yellow. Yellow is back here as well. And I'm not going to worry too much about it and pick up a bit of this yellow, yellow ocher here and got some oranges and yellows in here. It doesn't matter. I'm just going to get in a bit of this orangey looking color for the front of this building. Very light. Something like this. We can dial it down. I'll just put in a bit of whatever is around the sides of the palate as well. Just something like that. Just a bit of an orangey color. The slides here of the right-hand side of the building, they're going to be lighter because they are facing directly, directly facing the sun. So this is going to be lighter and this is going to be a little bit darker actually. Here. This side of the orange, orangey color like that. And I want them to just blend together as well. Some more yellowy color here coming down. Now, got a bit of this off-white color as well here, little bit of this off-white color like that. And in the background, you've also got some of these browns. Like I think this is a burnt sienna color, which is a kind of a reddish brown. You see a lot of that in Italian buildings. So this is just a bit of that brown touch of that. Some of it will mix. It doesn't matter the touch of that brown. Let's go over here. On this side, I've got to put, let's put a bit more of this burnt sienna here. And I'm keeping it pretty light as well. Lots of water in here. In fact, I probably need more water. I'm just going to lift off a bit of that paint so it's lighter. Bit of that burnt sienna in there. Look here, there's a bit of yellowy color for these buildings, like a touch a yellow or something. It's too saturated. So I'm going to drop in a bit more of this white, off-white color too desaturated, attach even a bit of gray you can mix in as well just to D saturate that color. Okay. A yellowy gray color and some more here, just a bit of a warmer color. In this building. It's got some warmth in the ground. I'm just going to pick up a general warm color. Just a bit of this that we've mixed up already, but with some tiny bit of white mixed in. So it's just an off-white color that I was talking about before. And they also they also drawn onto the buildings a bit. So you can see there how it just sort of joins on to the buildings, come downwards, okay. Even play around with some of the gouache in there to add in a bit of the gouache as it creates more body to the paint. And especially down at the base, I don't have to use too much water colors. A little bit of gray in there as well. I'm thinking it's just should have some more grayish tones in the ground. More in here. Just move that across as well. Just a bit of that gray while the paper is still wet. This is what I was highlighting before that you can do all this stuff or the paper's wet because it's going to spread. It's not gonna look look out of place. So that's done. Let's go ahead and get in some color in the sky. I'm going to pick up a bit of cerulean blue, nice little bit of cerulean blue. And just makes it a little bit of that. Makes this add a touch. And we'll drop that in the sky. Very light wash of that blue. And some of it may seep into the buildings as well, but don't worry about it. Okay. The building should have almost dried already, so it's not going to make a difference. But what you can do is cut around them as a touch lightly. See how I just left a bit of white on the top side of the buildings. That's a little trick that I use to just create a bit more separation between the buildings and the sky. Some more water up here, a bit more water. I just want that to be a flat wash. Flat wash. But again, you can do things like putting clouds. If you want some clouds in here, I can pick up some purple or whatever grayish color that we have here on the left side of the palette. And I can do something like this, adding some cloud-like shapes running through the scene. Okay. Soft, wet and wet effects. Okay, So we've got some variation. We can drop in a bit here as well because the, the, the paint hasn't dried yet, so we can get away with just adding in a little bit of that stuff already. So look at that. It's already we've got all the warmer colors in here, or the buildings and the grounds. We've got some cool colors in the sky. So the cerulean blue and a bit of this grayish purply Cloud. Okay, So let's give this a dry. Everything is all dried off now, I want to mix myself up a grayish blue color. I'm mixing up a bit of blue here. I've got a bit of Payne's gray. I'm mixing as well. Okay. Maybe a touch of yellow in here too, along with the purple so that I can get a nice dark gray color and nice balanced gray color as well that has some of the warmth in it. Okay. But more blue. More blue. Now I want to make sure this is darker, but I don't want it to be too dark. I also, this whole area needs to be joined onto the shadow underneath the building. So let's try this. Not dark enough. We need some more blue, maybe a bit more purple, more blue and some more grey. More yellow running through in here as well, just to dial it down. Let's have a try that again. Getting there. And I'm just modifying this and adding some more purple and some more of these grays to just darken it down a little bit to the point where I feel that's around the right level. So I still want to see a bit of a yellowy wash behind it. I'm just going in and you can see the side of the building here that gets hit by the light. It's quite sharp that side, so I'm just coloring that Olin. Okay. Yeah, you can see that left-hand side of the building as well. All fairly dark. In fact, it's darker there, so I can mix in a bit more neutral tint to darken that further down on the left-hand side, it gets really, really dark back there. I can just dark and then even more like that. Okay. Go back to my normal mix of purple and feather that in. Okay. So you can see just a touch of that predation where it goes from dark to light, lighter here. The shadow as well. I want to get this in with a fair bit of darkness. So using the same mix because it is really dark and creating a sharp shadow here on the ground like this. And helping it to join onto the building here, to the base of the building here. Moving it all across the scene to here. Just goes outside of the outside of the scene in general. Okay. So they have it, you've got some bits and pieces there. Another thing you have is perhaps a little shadow running here as well, just a smaller one like that, leaving a slither of lie in-between like this. Okay. You've even got some darkness underneath here. I'm using the same mix that we've had, just been cut around and create a little bit of darkness in there. Okay. And I'll put in a little bit of yellow as well in this mix to lighten it up a bit. And just adding some darker bits of color behind here for this building like that. Okay, It's kinda hitting the side of that building, this as a sunlight or whatever. Even underneath the rooftops, you've got little bits of shadow like that and tiny bits of like separations on the buildings like this. Tiny little separations that I can imply. Like this. There's all kinds of things here. But at the end of the day, just wanted to put in a few indications of some windows. So you can see here just some quick, quick little windows that I'm putting in with the round brush. Okay. On top of the buildings, look, you've got these little bits on top here, these like chimneys and stuff like that, like that. Now work on, again this side of the buildings with a few little marks and details, little windows, quick little windows like that. But it's mostly in the sun. Bit of that there but you're leaving the warmth there. Okay. As well. I'm just going to get in a bit of the ground. This sort of sensitive perspective in the scene like that. So bit of line work like this. Okay? So it kinda looks like you're walking in, going into the scene that way. Little bit of some bricks and things as well that you can just paint in with everything dried off. You can see in this painting already there's a balance of the cooler colors in the sky. Some warmer colors here on the buildings, also some slightly cooler colors for the shadows. Okay, now, what I wanna do is just put in some small figures and tiny little details. And I'm gonna be using just a bit of neutral tint for this, just a dark color. And you can do things like also getting the windows just a touch of darker color there for the for some of the windows and details. Okay, just have a bit of a play around and work work in here, some of these things. Okay. Some balcony or whatever they think. Just work on some of this detail as much as you want really, but you using the darkest values here and tones of color. It's, it's just, it's just a bit of neutral tint or a bit of grayish color. Okay. Make sure that I don't overwhelm. Don't don't mess up the color scheme where everything else. But this is to get in the sharpest values. Okay? There we can even put in some more here and that other side of the building to really bring out the, the darkness and things here. K bits of darkness underneath here, it's pretty dark as well. We can just darken that up a bit more. Some of these windows like that, like that. The bits and pieces of the rooftop like that. Okay. The stuff here on the roof there to the left, keeping them on that the building, the left side of the building is actually a bit darker. So that's why I'm trying to go back into it attached to two perhaps getting some of those details. Okay. Scratching out work that these tiny little windows and stuff on the buildings that I missed out before we can get some of this stuff in. Maybe some of the separations in between the buildings as well. I can just imply in darkness underneath, in some areas for shades and things like that. Figures that's put in some people. I'll put in someone here just in neutral tint. Neutral tint. And then you're just walking. Another person here. In here, especially in the darkness. A little bit of extra darkness helps. You were just walking around in the scene. And of course the shadow underneath them. I just need to add in a little bit of color like that. Okay. Can even add in another bit of shadow here in the front. Just pick up the color and do something like this for an imaginary shadow that's coming in from another building. That little lamp here. Something like this little lamp on running off the side of the building like that. Tiny details with these rigger brush. Okay, nice little exercise to do. And it teaches you to mix on the palate. Getting those areas of controlled color to start off with the sky and especially the sides of these buildings where you want to draw out the maximum contrast, mixing on your pellets. Better for that. Then if you want to put in some clouds at the top, noticing here, I'm adding that in while the paint's still wet, so we're getting some of that mixing happening on the paper. And also we're mixing on the palette as well. Near the end, we've used mainly really dark paints, which doesn't require much mixing it all just a bit of five, 10% of water added into the paint at those finishing touches. So obviously not the most detailed painting, but it's a great little exercise that you can work on with any reference photo, not just, not just this one. 13. Understanding Composition: I'm going to talk a bit about composition now. And I think this is a very important topic because a lot of time composition is relating to your particular vision that you want to get out of a scene when you look at a reference photo, often that reference photo doesn't speak to you completely. There's a few things you might want to change around. You might want to change the perspective. You might want to change the figures are the buildings. You want to change, areas of focus in there. So this is one of the best things as an artist that you can use at your disposal to be able to create that perfect looking sin, because you can never find a reference photo that looks perfect in your eyes anyway, sometimes you get lucky, but a lot of the time you don't. I've got a few squares here and we're gonna do some exercises and see how we go with these. I'm going to use to reference photos to highlight this particular exercise. And the first reference picture you can see it's actually a portrait style orientation, so it's running up this direction. But you might look at this scene and say to yourself, I don't really like that sort of thing. There's too much of this foreground. I do like the buildings out in the background. So that's what I'm kinda thinking anyway. I'm thinking we have 0. Half of the scene is roughly just road. I don't want to put that in, but I do like the top part of it with the buildings and the cars and things. So I'm going to turn this into a landscape style orientation. Okay, I'll put the horizon line here. Just just planning it out. And we might put the building in the corner. And one of the most important things to remember is the rule of thirds. And it's something that is talked about in photography a fair bit, but it also applies to painting. You can see I've divided the paper, this little segment here up into thirds, okay, 123123. And the idea of the rule of thirds is that you want to put your objects of interests in these areas where the lines interconnect. Now this isn't a rule that's set that you have to follow all the time. But I think as a beginner to good one, to get started with the follow anyway. So e.g. I. Might have the building here. The front of the building comes off in the distance. Here's the side of the building. On the right-hand side there you've got a big tree here. Sri, their buildings running off into the distance like that. Okay. Bit short with the ordering. Doesn't matter. Bit of detail underneath the building, some darkness, some of these shades that you have these little night at these little shades at this P on the sides. Windows, of course needs some windows. Just get some more of the side of the building in like that. That you've got some shadow here. And this is a good opportunity for you to plan out the darkness where all the light is. Your painting here as well. I think I might put in some darkness for some of these trees. Often the side of the scene might have a car here or something coming in from the corner. Or not. A tree or something. There's a person just walking here, putting a person there. But I do like these cars off in the distance. And I want to draw on that a bit more and put in some more cars. Just want to play off that a bit, putting some more cars just closer by in the foreground, have them overlap a bit with each other. This one should be maybe a bit taller like this. Okay. But you've just playing around with everything and seeing how it works out the composition. Because nothing set in stone here. We never hear there's some type of other building, e.g. you might think, I don't really like all these trees here. I might like this one here. But I like I like these other buildings. So I could invent some here, putting some elements of roof, rooftops or something that just putting a few windows. Okay. This could be again, that little, a little tree or something here. Now the tree here. And what are we doing down here? Maybe we can put in the side of a car or something that just driving through the scene. Just something simple. Doesn't matter. Some perspective lines like this. And all of a sudden. I mean, it's not perfect. But we have ourselves an original composition just from the idea of thinking. How can we make it more interesting? I'm going to make the CMO interesting. Bye. Removing a lot of the foreground and the other one. And shifting elements around. And also placing the elements in areas that intersect using the rule of thirds might be e.g. a good idea to put a figure, India in one of the areas where it intersects just one figure closer in the foreground. Like this. Well, you might not think that's a good idea, but I thought, why not just put one in there and see how it works? Okay. Some little poles or something here, some little traffic poles and light lights running in from the side of the scene. Suddenly we have a little composition that we can use and turn this into an actual reference. What Say? Say we want to make it closer, even closer than that. Well, we can do that. Putting that horizon line there again. And I can say, stop putting in the building here and make it larger, larger. And now we've got this side of the building as well, coming down over in the backend side. Here, here, here. Yeah. Oops, horizon line should be maybe, maybe around here now. Be closest. So just to experiment around how it would look better like this bit closer up and maybe have less going on. But we've got a few cars, like another car here, another car here. I have a figure here walking in from the front of the scene or, and another one here. Okay. And you can think to yourself, well, maybe this is better. Maybe I like, maybe I like this scene better. This composition better. Oh, just a simpler sort of seeing like that. They tell him or interpersonal story with the figures, maybe these two friends and they're just having a chat and this person is carrying around a little shopping trolley or something like that. So a couple of options there from that same reference photo. Let's have a look at another one. This is a very complicated scene. So I think I want to simplify this down. I want to make all those buildings in the back reduce down to one shape. And I want that building to the right, a little more detailed. So let's do that. Can just put in the details of this building and goes up like that. Some type of loops, some type of clock tower here. Okay. Might be running out of room, but we'll see a dome up here like that. Okay, it kinda goes out the paper, but that's alright. Here side of the building. And again, another another kind of part of the building there that like that. That there. And I do like how the light is coming in and sort of casting a bit of shadow on the building in areas so I can just color part of it in like that. Do like that. Shadow pattern. So just remind myself, color that in. Okay. Of course we've got windows and things on the on the on it as well and bits on the roof. It's tiny little details there. There's even something here. This is like a another dome here in the background. I didn't see that one sticking out like that. Okay. Some more windows here. Let me go to larger entrance like that. Just write all these buildings aren't going back. She's just so much detail. Let's just simplify this down. Okay. I have some rooftops and things maybe. But apart from that book, I just want to simplify. Maybe I want to tell the story of this building. Not all the rest of it. This large tau, not tau, this monument here. I'm just going to make it run out of the scene so that you can't really see it. But the rest of these buildings look simplify down. That's just a silhouette here off in the distance. Whereas here we've got the main story and maybe put in a figure here, person here, just walking. And another one here, just walking as well. Walking around in the scene and fewer, few people. It looks like quite a busy scene. Really. Lots of figures walking around. And e.g. this could be some large shadow shape on the ground, a soft shadow shape here. Running across the ground. Large shadow shape, perhaps. You've got a bit of a slither of light here. But these buildings, maybe a building off to the left is casting a shadow on this side, but it's leaving a slither of light through the center. Leaves you a few things to think about. That's for sure. But I think this is a much more interesting composition and a much more manageable composition. And to try to figure out and draw all the details of these buildings and then be left with a hole, this stress and how to figure out detail everything. Okay, so that's one, Let's say we want to focus more on the building. So I might want to lower that horizon line and touch there. So I've got enough room for the building. Okay. Start Here. Look, kinda bring it up like that there. And getting the details of the side of the building. You know, that that this one's gonna be tricky in the center, like that there. Okay. And I probably should have with the bit of paper just giving it a bit more room at the top, but that's okay. A bit here at the top. That top of the clock tower. Getting in a bit of shading as well. Okay. Maybe I wanted to just shade this side better. Here's some more, more side of that building that's sticking out there, this other tower here in the distance. Something like that. I'm bringing that down further and have some extra details here on the side of the buildings, just a little entrances and windows and stuff like that. Okay. And here there's just trees, nothing else, just trees behind. And we're going to have some people walking in that could be someone here and one here. Maybe it's more personalized meetings, a couple of friends here just catching up or having a bit of a walk. Maybe the lights different as well. We want to change that lights so that it's kind of coming out this way. So we've got darkness here in the foreground. And there's more darkness here on the right-hand side of the building, but it still makes sense that shadow still make sense on the right-hand side of the building. But we've got some shadows of the figures as well, blended in with this large shadow here. Okay? So there's a lot of options. And as you can see, I've used in the beginning of the rule of thirds. But at the end of the day, I thought to myself, what do I want to be the subject of this? See what I want to focus on. And do I want a more personalized scene or do I wants a sweeping landscape with a lot of stuff going on and just a wide overarching view. So for these, these particular scenes, I've actually gone ahead and done two. And here you can see I've zoomed in a little bit. Usually when you zoom in, hit more personalized things going on in more details, especially with figures and cars and things off in the foreground. So it's really, it's really up to you. But have a practice and use these techniques that I've shown you on different reference photos. You can use the ones that are in this particular class, or you can use, you can use your own as well. And I think that's the whole point. Like you guys to experiment around with your, with your own references and realize that you can do this with anything, any reference, not just the ones that I provide. 14. Understanding Perspective: Alright, in this video I'm going to give you a crash course on perspective. And this is mainly just one-point perspective and a few principles of basically the horizon line as well, which I think is gonna be really important for you guys if you want to make sure that scene looks completely dead on as if you're looking at it straight from reality. I think a lot of times people end up making scenes just look a little bit too elevated or going down on a decline. And it just doesn't match what's going on in the actual reference photo, figures are too large and the background too small in the foreground. I'm going to show you a few tips, and this is going to help you make things a lot easier. And your paintings improved significantly. So let's go ahead. I'm going to draw in a few of the squares. And basically it's going to be three squares. I'm going give you three different examples. The bottom square, Let's have a look here at the top square will just be figures with the heads on the horizon line. And we can have a couple more here as well. So e.g. if we put all the figures, if we say have some people walking here, okay? Another person walking here. Here. There's also some small figures here just in the background, real tiny ones that are just walking around in the distance, but their heads are all roughly on the horizon line. Okay, even big ones here in the front, we have a big one here close to where we are. Okay? Or even a larger one here. The shoulders of a figure just starting to come into the scene, e.g. okay. As long as the heads are all lined up on the horizon line, it's going to make sense. Okay? It's only when you get some in the background that are too big. Okay, that's when it's going to start to confuse the viewer. I'm just putting in some imaginary buildings and stuff like that here in the background. Alright, so let's have an example. Let's look at an example where for the purposes of this, we're going to make it look like the figures are going on an incline. So gotta figure here in the foreground. But one's going further up. Okay? Yeah. And there's one here walking around up here. But the ones closer. Okay. Actually further down. So what this appears like now is that the figures are walking up, walking up a hill of some sort. Okay. So have I don't know, some buildings and stuff up here as well. So this is fine. If you are painting and seeing that has an incline, otherwise, it's going to look a little bit odd. And it's not going to match your reference photo. The same thing goes, is sort of when you have a figure that here, we've got some of them just getting smaller. Okay, further down. Their heads just go further down near the horizon line. Okay. This makes it look like the figures are walking down a hill of some sort. So there's a big difference. And I think with a lot of the scenes that you see out there, they'll mostly be in this sort of this sort of orientation. This is because it's easier, I think, for us to make sense of that scene. Most of the times when we're walking around, it's on flat ground, but it's not always exact. And sometimes you get people that are a little bit bigger, a little bit taller, e.g. there could be a child that could be smaller child here in the foreground and the head is smaller. But that makes sense because the child is small and maybe holding the hands of this adult here. Okay. So you really have to take in mind that these are just for average height adults. Okay. Let's have a go at a few other little exercises. With a normal one-point perspective. You have the horizon line, which is the area where the sky meets the Earth, the ground. And you normally have a vanishing points. So it's a point where everything starts to disappear and get a really, really small and the distance. So if we can imagine this is like a road goes off into the distance. Alright? And we have, we can have a car here and put a little car here with some wheels driving off into the distance. Okay, I can put another one maybe next to it. Just simplify that car down a little bit. And as you can see that the cars, as you get further up in the back, they become smaller. And this is what you have to imply. With perspective. This is decreasing sense of size as we move all the way off in the distance, you can almost, barely see those cards back there. So e.g. if this is a road which is. Which is what we're drawing. I'll put another car here as well, a larger car, maybe closer to us. Yeah. Okay. This is logic car. Logic car. Right? It's gonna be bigger near the foreground and the ones in the background, I'm going to be smaller. The same thing goes for things like poles. There could be like a pole here, light pole across the side of the scene. Another one here. The closer they are to us, the more the larger they are. This one here probably coming out of the scene, even coming out of the scene. But once here at the back are going to be smaller. See, maybe smaller and smaller yet as they move to the distance, you can barely see what's going on. Okay? And same thing goes if we draw people. Remember, a person is gonna be a little bit taller, generally speaking, a little bit taller than the average car, maybe at this size like that. Let me get some shadows going to the left or not. Okay. A little bit taller like this, then the car. Okay. Unless they're a child, the child is going to be around this tall, standing next to the adult. Okay. Now, what happens if we're moving backwards? Same thing. We're going to make everything smaller. Smaller figure walking around. They're even smaller figure walking around there. But the proportions remain the same. The height of the person will still be greater. Will be told them the car, similar to here. Okay? So if I decide to put in a person here in the background, but let's say I make them too big, make the head too big, and the body too big, and the legs like that. This looks out of place. It looks like we've got a giant walking around comparison to everyone else in here. And the same thing goes if you've got the cars of this size, and I'll put a person here, an adult here. They're going to look too small in comparison to this car. So we have to make sure that everything is everything is in proportion. Okay? The only way to do this is again, to put in the perspective lines, putting the horizon line and start putting in the cars or the buildings, whatever shapes that you have in there first, and then making sure that everything else matches up. So if you've got a really big building in the background, e.g. big city city off in the background or something like that. Okay. What you don't want is to have a person that's too big up here. Like that. Taking a look gigantic. So of course, you want to have a tiny person here. Maybe even, not even be too hard to really put them in unless you've got them closer here to the foreground. Really, keep in mind and make sure that everything, everything matches in the proportions with each other. Because otherwise, if you've got elements that are out of sync, your painting is not gonna make sense. And this is where it all starts. Let's try scene with a really high perspective line there. Horizon line here and here. In this particular scene. Okay. We're kind of looking looks like we are looking from the bottom upwards. Okay. It's kind of like an advantage point of someone's smaller. Like kind of like a child. Or what have you. The, the buildings could just be so tall you can't really see what's going on. Okay. Yeah, some figures here. Yeah. Like that. Alright. This one here is the complete opposite where you're looking almost down. Like a top-down view, vantage point. Top-down view, the low you put that horizon line. You can have a, a horizon lines all the way up here and it's going to exaggerate that. And it's very rare that you have scenes with horizon lines like this. I tend to put them roughly in the center or just above the center or a little bit lower than the center. That gives you a good balance of both. And that's when we look into the world. Usually the horizon line is roughly roughly at eye level. So we want it to be kind of in the middle and the heads to line up on the horizon line. That's going to give a more realistic perspective from the average person. Generally, we don't view the world like this unless we're standing up on a mountain or we're seated somewhere on the ground or something like that. 15. Draw and Paint Buildings: In this video, I'm gonna be showing you how to draw and paint buildings, people, and vehicles. These are probably the most common subjects that you see in our reference photo in an urban landscape, wherever you are. So let's go in and I'm gonna show you a couple of ways that I paint buildings. So firstly, let's go ahead and get in a bit of a couple of squares. I think this will be, this will be the best, best thing to do. So just like that. Okay, good. Now, horizon line, horizon line here. I'm going to paint, I'm going to put in a few buildings here in the distance. And what I want you to realize is that a lot of the time, you don't have to get in all the little details of the buildings. All we have to do is connect them up and create a bit of a silhouette. So little sketch didn't really take much time at all, but I'll pick up some neutral tint. Okay. We're just going to get this whole set of buildings in with one quick wash. Okay. Like that. One. Wash, bring this one closer like that. Okay. And we can just get in some little perspective lines maybe like this running through the scene there. So there we have it. We've got some buildings here just in a wet and 11 wash. But what we can do is I can also add in some little indications of windows here. This paper dries really quickly as well. So as you can see, some little windows and things like that, you can just drop in. And that's one way that you can paint buildings. Another way. The second way that I use to paint buildings is to actually use a couple of washes. E.g. might have a building like this. Okay? The clock tower. This is a same reference that I used before. Anyway, clock tower. There's another part of it here. Like that. Yeah. And of course another part of the tower here that just a bit of time drawing this in so I can get into the details of the shadows. Okay, this might just be some trees and bit of a building here in the background. Maybe a person putting a finger here. Couple of people, another person here. Okay? So what I'll do in this stage, in this example is that I will get in a lot of colors of the buildings. So normally when we have these buildings, they're going to be sunlit in the daytime. So you're going to have some of this warm color running through it. So I will add in this warmth. Yellow, bits of yellows and things in here, just warm colors. It doesn't matter really what he's in it for this stage, just practice along with me. Like that. Warm colors for the building's. Not just that hold the ground as well. You're going to have some warmth here on the ground. Ice. And just some of the buildings off in the background as well like that. So I'm going to carry all this down, just join it all up so that it comes through the scene. So we've got all this warmth in there. I'm also going to just for the sake of it, I'll put in some sky, bit of this turquoise. Be the sky. Just to make it look nicer with a bit of coolness in there. Oops. I can't put a turquoise there in the sky. Now, let this dry. Once this is dry, I'm going to start putting in the second layer. For my buildings simplicity sake, I'm just going to use some neutral tint, a bit of grayish color, maybe some yellow mixing a bit of yellow there to warm it up a touch. Good. And let's go ahead and put in some of the darkness here on the right-hand side of the building. Yeah. Here, just a bit of this darkness. There are here as well, here. And maybe here as well on the building. You do find that there's actually a softer shadow running across the building down at the base. I'll just imply that as well. That in here, just the shadows. You can really see. There is this sense of light on the buildings. Some details in there. You can also put in these little, tiny little indications like these windows, dropping them in like this. Little windows running through the scene for the clock tower and maybe the front of it as well here, these little windows and things at the top, the little spires on top as well, the tower here. Okay. Normally I wait until the paper is completely dry before I put in all these really dark spots, but these paper dries very quickly so I can do that. So really you have two steps plus an additional one that I'm doing now, we're adding in just the final dark spots. And of course here in the background you might have some these tree, I'll just getting an indication of some of those trees like that. Just some quick little things like that. And for this building here, I'm just going to color it in. Okay. Maybe leave a bit of the roof exposed there. Alright, for the foreground. Let's join it up with the shadows from not just the buildings, but whatever is casting a shadow, probably building anyway, from the left-hand side. So we can get in that large shadow. And it's okay if you getting little bits of leaving bits of the yellow behind as well, I don't have to worry about coloring it all in these tiny little bits of yellow there are good. Okay. There's some figures here as well. So you can just use that in a little darker color like neutral tint. Connect up the legs of the figures here and here. Now the figure here, here, walking through, walking through the scene. Like that. Detail for the head of the figures, maybe like that. Some shadow for them, like this. A bit more darkness for the shadows behind just to create some variations. Can even get out some little tree branches if you want some little quick tree branches or something like that. Okay. Quick little things. Okay. But you can see the way that I've done the buildings just in a few quick Goes, few quick washes. Okay. We've already implied a significant part of the building and we can tell what's what's, what's happening in there. Something you get a little bit of shadow underneath and parts of that area as well. Okay. 16. Draw and Paint People: Alright, so let's do some drawings and paintings of some figures, some people. Now, the way to remember how to draw them in the proportions is that you want to make sure the head fits into the body. The entire length of the body, roughly 7.5 to eight times. So you've got the head here. So you got 1, 2, 3, 4, 5, 6, 7, and 8. 1, 2, 3, 4, 5, 6, 7, 8. Okay. That's roughly the height of an adult person. Okay. So the head will fit into the entire range here, 7.5 to eight times. Now, of course, with smaller figures, sometimes you might have children that might be half the size. Here, the heads are always larger. Children's heads in proportion to their bodies are always a little larger. So you, the rule of this is little bit different here. So children's bodies. So in this situation, the head is not going to fit into the body 7.5 to eight times due to the size of the head in relation to the rest of the body. For the most part, you're going to be following this sort of guideline for all the figures that you paint. So let's go ahead. I'm going to show you just the way that I paint figures now start off with the heads first, like this. Well, it's putting the head first. I find that's the easiest point to start with. And then you can get in the body. That leg here maybe in a lake back here. Okay. It really depends on what the figure is doing. Okay? Now, the way that I paint figures also is that I look at the head. So if you want the figure to look like they're walking in a particular direction, then put their head in that direction, like they're here. Okay. That way walking in that direction. So that could be the body that leg coming out the front and a leg coming out the back there. This person's walking towards the right. So we could have a foot here at the front and a leg here at the back. So these two figures are walking opposite other way to each other here as well and I'm here. Okay. Sometimes they just out the front down the bottom like that. Okay. How about a figure just standing up straight, just looking at you? Just put in the head like that. Shoulders square on. And then you put in the legs like this. Could be walking. Another way you can imply this is have one of the legs just in front of the other like that. I've got that leg in the back and the other leg in front. So this one is just standing straight on, whereas this one's walking into the scene. Or it could be walking towards us. And that's independent as well. How much detail you put them up, putting the shirt, and then we'll look like they're facing towards us. And the more you slide the head, the more it looks like they're running or going in a particular direction or the bodies, even if the body is like this. Okay, that could be really liked that they're running in that direction. Let's try it. Let's try that again. Like this. Okay. There's a bit of urgency. It looks like that person's running. That when I'm behind, this person's really just bolting there in a big rush to get somewhere. What you don't want to do is make the heads too big. Okay. Unless unless they children. Okay. Let's their children. So the child, a little boy or something. If you have an adult with head, that's really big. This is when the figures start to look funny. You start putting in the body and the legs. And it looks really weird. It looks too strange. You can get away with it if the head smaller. I think they had smaller, but it just looks it just doesn't look right if the head is too big, okay, It's also easier to enlarge the head, put the head into big to start off with the kind of stuck with that. So always error on the conservative side. When you are putting in the heads of the figures, you want to make sure that they're not too large. Because then you can always enlarging them afterwards. Also, painting a group of figures is sometimes important scenes. You often get a group of people walking together. This is how I do it. I'll put the heads in like this and then I'll just join the bodies along with the heads. Okay. So it looks like a group of people walking or whatever, just a crowd of people like that. Maybe from a upward bird's eye perspective. But if you've got three people walking together like this, they'll just kind of overlap group of friends or something like that. Okay. Legs in here. Like that. Bunch of friends just walking about. It looks like they kinda joined together. Can add little bits and pieces onto the figures as well. You can have like a bag. Sometimes figures will be holding suitcases or they could be backpacks on or something like that. What else could you do? You could have people that are holding onto like supermarket trolleys or something like this. In try just put one in here. Supermarket trolley like this. Just put the legs in first. The wheels underneath. This person could be walking into the distance. Okay. May the head almost too big now? So it's always important to keep the figures looking a little bit different and you can put hair on them as well. You can even put hats and stuff on the figures, make them look a bit more, a little different. It gives them a bit more personality because if you do them all the same, It's fine as well. But again, I think it just looks better if you add some extra details on those figures to make them look just like different ones, different people walking around. This exercise that I'm doing here, really, really recommend this. I've done so many paintings of these figures in this way that when it comes time to actually put them into my scene, didn't really have to think too much about it. Main thing I need to think about is the positioning, where to put them in. I'm not thinking about the size of them. Whether it's right, the size is right, or whether they're too detailed or not detailed enough, or whether they're in the same position. They will run it running or walking, that kind of thing. Because I've done all that already. Spent a lot of time doing what I'm doing here. Okay. So that you so that you don't have to worry about all that stuff. Shoulders of the figures are important as well. Always make sure you've got the shoulders in. Often in a scene as well, you're going to have a shadow underneath the figure. You need to look at with a light source and figure out where the shadow is coming from. Light source is directly above. You're going to get a shadow underneath the finger like that. If the shadow, the light source is coming from the right, you're gonna get a shadow running to the right like this. That's the left. Shadow to the left. Sometimes you're going to have shadows coming in from an odd angle like this from the back, the back-end. So something like that. These shadows don't make sense because they're all in relation to each other. They should all be the same, but just giving you an example of they're from different scenes. So this one here, shadow running to the right. The, the light source is coming from the left. And you joining the legs up like that as well. Making sure that they connect on to the shadow like this. Okay? Sometimes you're gonna get shadows that just come downwards again from, if there's a light source coming from behind, or even some downward reflections if it's wet ground. But this is a basic, and this is pretty much everything you need to know to get into some basic figures into a scene without much effort at all. Just using essentially a little round brush. And you can really get in a lot of different details and imply quite a few different stories. People just walking around in the sharps, people running to go the bus stop or something like that. Group of friends together. So really recommend trying this out yourself. It's got a bit of spare paper and do some figure painting. 17. Draw and Paint Cars: In this video, I'm gonna show you how to draw and paint cars and general vehicles. I think this is important for any urban landscape. Now the queen central vehicle that you need to draw as one that's either facing towards you straight on or going off in the distance. And you can see the top of the vehicle. I've got in this sort of windscreen, which is generally a little bit darker, but sometimes you get that reflection coming off it. Okay, So you've got this kind of almost rectangular but with curved edges. And then at the base of the car you've got another rectangle here. Rectangle. And this is where you have the tail lights and the bumper. But most importantly, is that you have the wheels underneath the car here. And the shadow. You need to have the wheels and the shadow connecting together in this way. If you don't have that, it's gonna look like that car is not really grounded at all. So this is one that's just sort of going into the scene. Maybe going into the scene. So we can also get one on a bit more of an angle. We can get in the windscreen kinda like this. Notice I've created these lines of the windscreen here at the back of going off on a little bit to the left hand side because I'm going to make it look like we can see more of the right side of the car in a couple of the tail lights there, the bumper. And then of course we have the front of the car like this. And the rooftop joining on. Can't really see the front of the car. But you've got the wheel here. Now, the wheel here maybe. Okay. And, uh, we'll hear, join up like this. And then you have it. You've got a car, basic car just again, going into the scene, but you can see a bit more of the left hand side of it. More of the left-hand side of that car might have a light source coming in from the right, casting a shadow to the left. Okay. Let's do the same thing with the cough. When other car facing to the left like this. Windscreen with the lines, the edges of the windscreen facing towards the right. And then we'll get into some of these tail lights like this underneath the car that we use that in front of the car here. And joining up the wheels again like this. Then we haven't we've got another car driving towards that driving towards the left. Okay. And again, I'm gonna put in some darkness to the left of the car because of the light source, which is basically we've indicated it coming in from the right-hand side. Three cars, one going forward, one turning left, one turning right. And really, that's all you need for most scenes. Okay? The other thing you might have is maybe a card like facing sideways, like this. Alright? Facing sideways. You can just put it in sideways like that. There. Again with the top of the car like that. General shape of the side would profile the car. The wheels is to round wheels at the bottom. And again, just joining up the shadow underneath so that it looks like it got a bit of darkness underneath the car. Some people like to put in windscreen and things like that. I'm just going to put in a couple of windows to the side of the car. Sometimes you would in a bit of the door like that. But one thing you find is that the front of the car, wherever the car is driving, it's going to have a bit of the nodes that just points out like that. So you can tell that's the back-end of the car, maybe an exhaust pipe here. You can pop in there as well. Something like that. Okay. So you use this same thing also to turn the car around if you want it to, facing the opposite direction. But these four cars are pretty much the only things that you ever see. The only orientations that you see the cars in. So how do we paint them? Well, let's just use one color. And I'm going to probably use another sheet of paper. It's just gonna be easier. Pickup bit of darker paint. And I'm gonna go in, let's put it in like this, the top part of the car there and the windscreen coming in, then the bottom part where the bumper is. And we can just get in the bottom part of the car like this. E.g. we can put it in the side part of the car as well, just like what we were doing before. They're they're they're okay. Join that on. It looks like a car as well. Okay. Maybe it's a bit of a light source coming from the right-hand side. Let's go again. The top part of the car again with this sort of shape, this funny-looking. It's almost like a rectangular shape with the top squeezed in. The bottom is boxy. Look. And at the end of the day, if you even if you color the whole car and like that, as long as you've got the wheels at the bottom, it's gonna make sense. Lot of these ones you just have coming towards you. You can't really see all that much, even something like that. Or in the distance, might have a few cars that are just really far back, but you can make out the tires like this and join them up at the bottom. Now the car sometimes they overlap with each other. So you've got a few that are running along with each other like that. So those are a few simple sort of cars. I mean, you can even do one here that's facing the left-hand side, like I was mentioning before, with the full Drive or something and a couple of wheels here, the base. And again, just putting in some shadow to the left. Simplified sort of vehicle. And of course, the one facing to the right as well, like that. Okay. Having practice with these, and I'll give you more examples to play around with in the actual demonstrations later on. But challenge yourself and try to paint a car with just one wash. You'd be surprised at how, how easy it is to just simplify them down to these little shapes and have them still look like cars. At the end of the day. 18. Paris Exercise - Drawing: So in this scene, we're gonna be doing a exercise, a exercise in one-point perspective. This is the only type of perspective that you'll be needing for most of your street landscapes and urban landscapes. And here what I'm doing is that I'm just creating little square frame or whatever to kinda get started. And what I'll do in the demonstration of this entire scene, we're going to talk to you about perspective in relation to what I'm drawing. I think it's going to make a lot more sense that way than to try to explain things from a more theoretical point of view. So let's go ahead and get started. So you can see this scene here. And one of the big things you need to do when you first pencil in your reference photo, need to add in the horizon line. What's the horizon line? Horizon line is essentially where the sky meets the ground. Street scenes. It's basically the point where everything vanishes. This is also called the vanishing point. So if we look all the way, where'd all the buildings finished roughly here, but behind where that signpost is lady standing around roughly here. Okay. So just mark that out. Again. This is about a quarter of the way through the scene. If we look up we looked through the scene, this like we separate it into half. It's about a quarter of the way through there. We can just draw in a bit of this line indicating the horizon line, just like that. Okay, really important to get this one right. You're gonna make it too high. And especially if you want to make sure that the reference photo, the painting looks similar to the reference photo once you're done. Okay? If you have it like this way, what you wanna do is you want to draw a whole bunch of lines that are stretching out from that vanishing points. So e.g. here, you can even use a ruler for this, I'll use a ruler just as an example to show you. So say if we draw that line here, like that, all these lines are going towards the vanishing point. Okay? So what you wanna do here is create this sort of effect on the ground with all the lines heading towards the vanishing point, we can draw in the bits and pieces now, so here there is some type of a signpost or whatever, but she kinda close. It's like here is a figure, There's a lady here just walking, but we can change this around even if we don't have to have it exactly as the reference photo was. Another girl here. She's looking down on her phone or something like that and pants. Some other person here behind. Maybe just walking. Okay. But the important thing is that these buildings, notice, I'm going up into the corner of the scene. Always look at where the buildings finish off. This one finishes roughly up in the corner of the scene. And as we go into the distance where we're at, where it goes into the vanishing point. Notice how everything becomes smaller. Buildings, everything starts to curve towards the vanishing point. So let's try here. We've got a building here in the foreground are pretty large building. It's got to move top like this. Now the part of it just sort of coming out there. I don't know. It's quite a complicated building, but I'll simplify that down here. There are some shades, some sort of shade there and underneath as well like that. And then here there is a bit of areas sticking out, is someone that's a cyclist here as well. Billy miss almost missed out that cyclists and just outstretched couple of wheels like that. This cyclist. Okay. I'm on the path cycling towards the vanishing point off in the distance. Okay? If we start working on these other buildings, we've of course got this one here. That's again, a little bit tricky. But in the center of the scene, this is where the other one just starts like roughly about here. Where we've got sort of comes up like this. Top of the roof, kinda like that. There's something here there. Like that. Running down the side. Everything curves towards the vanishing point. Look at how small the buildings get off in the back. And you can imply some of them sticking out and that mostly they just end up looking like this and getting smaller as we get into the distance. Of course. But this is the front of the building and there's a whole bunch of windows and things on the side of it, doesn't matter. And here we can just work in this building, it's simplified. I'll just simplify it like this and just get it in with a few quick little strokes, brush strokes at that. I don't want this to be too complicated. This particular scene. Few little bits and pieces there. But one thing to keep in mind as well is where you put the heads of the figures. Now the heads of the figures should be just above the vanishing point. What you want to keep them roughly around the same level as well. If you're assuming that of course, this area of the ground is flat. If you start making the figures, the heads off in different directions, not direct directions with different heights. They're just going to start looking funny. E.g. if I put in someone in the background with the head like that big, okay. It's just going to look weird. It's gonna look like this giant walking around. But if you put someone I had large head in here, the front, making sure the head is the same height as the other ones. It looks like there's a person that's walking into the scene. Doesn't a person that's walking into the scene. Alright? And even a smaller person off in the background. So long as you put the head in and around the right place, makes sense. Someone just walking off in the distance here. Smaller figures just walking around. The reason why the cyclist is a little bit taller because it's on a bike. These ones should probably be a little further down here. Okay. We will further down, doesn't matter. Okay, roughly around the same point on the horizon line is fine. If you have figures in the backgrounds with their heads are really high. What that implies is that we're going up slope. And on the opposite side of things, if you make the figures heads go, get lower, lower than the horizon line. As we go into the distance, it makes it appear that the scene is starting to, we're going down a hill. So having them roughly at the same point here on the horizon line indicates that the figures are at eye level. People are level. It gives a natural looking seeing kind of like what we would see when we're walking around, generally speaking. Okay. 19. Paris Exercise - Light: And this is an important thing you need to do to make sure you have a sense of depth in your scene even before you start painting. The perspective of seen as really important. To keep in mind these tips. Now, we're gonna get into painting now and I'm going to show you how to imply certain things that are closer and further away. Now, for this, I'm going to just use one brush. I'm gonna do this pretty quickly. I'm just going to pick up some warmer colored paints. I've got some yellow, I've got some orange and stuff here. So I'm going to go into these ones in the foreground, lighter colors. This is just a bit of yellow and a bit of white mixed together. I've got some orange in there as well. Okay, So all I wanna do is just keep this fairly light. Alright. Might have some orange running through the center here, some darker orange or something more vibrant orange. That okay. And that one there might be in the light or something. I'll just leave that this one here. Let's get into some more. Here's what you wanna do is in the foreground, I tend to increase the concentration of paint. This helps to bring shift the object or whatever closer to us. Noticing here, I'm darkening more than out there. A little bit more darkness and come around here. I'm just going to cut around this shade or whatever it is there. They're just a little shade, some more gray like that and a bit more here even like that. Okay. So we've got more, little bit more darkness, tiny bit more darkness here. Okay. And I'll go through this one more time as well later. Okay? Because we were just getting in really the lightest, one of the lighter tones in here. Some more stuff up here. Who knows what? Just a little bit. But as we move out into the background, I'm going to show you something. We're going to put in some more colors, but we're going to keep them lighter on the palette. I'm going to mix up some yellow, light yellow. Really just almost just the lightest color with barely any painting it at all. Look at that. As we go into the distance. Building start to get lighter and less visible. As we start moving towards the foreground, you get darker buildings and then more detailed as well. Okay, so that's why you can see here I've added more, a little bit more darkness, and even here on the right-hand side, a little bit more of that, a little bit more of that gray. But as we go out in the back, I'm mixing up more lighter colors and getting them to just blend together nicely. Let's look at the ground now. The ground is like a grayish color. So I'm going to just pick up some gray off the palette. Just to be the gray cut around that figure a bit there. I don't want too much in here just to, just some nice mixture of gray are putting a bit of gouache as well. I find that bit of white gouache helps to give it some more body. Especially when the ground is so light. Touch of that. The gray in here and look at whether people walking doesn't matter. Just go over the top of those people and I leave a bit of highlights on them. That's all we need. Now the sky, pretty simple. All we need for the sky is a little bit of cerulean blue, cerulean blue. And I'm going to drop that straight in. It has to be pretty light as well. I'm only using about 10%, 20% paint. The rest of it's just water. I'm going around. Let's go all the way to the top of the scene first, I want to try not to mix any of this in with the rest of the buildings, but you're gonna get some mixing anyway. No problem. That, that's just across and join that all up together. Okay, good. Alright. So what we've done here, the big thing that we've done is we've made the stuff in the front little bit darker and a little bit more detail, especially here in the front than we have in the back. The back, I've just started to decrease the concentration of color a fair bit. Now, let's give it a try. 20. Paris Exercise - Dark: Now this is all dried. We're going to work a bit more on the shadows and the darker values while trying to preserve the same effect here of more detail on the front and less detail in the back, more softness in the back as well. Little mop brush I'm going to use for this. We have to figure out where the light sources as well. I'm going to actually make sure that there's a bit of a shadow underneath a lot of these buildings. So let's go ahead and mix up some shadow color. I've got some neutral tint. Neutral tint color. I'll put in a little bit of yellow as well to just warm it up a touch and a bit of purple and a bit of yellow mixed together to get some kind of neutral gray color. Right? Now I'm going to look at some areas of the painting that I want to imply and adding more darkness. Now think here in the foreground I want some more darkness for this building underneath the buildings so it more neutral tint in there. And I will just add in some of this stuff here. A little bit of detail and what have you. I'm good. And just carry that around here just to make it a touch darker. Underneath this section. I also like to leave in a few bits and bobs. There'll be two lights in there as well. You'll notice also this shadow underneath the building here. It's pretty dark and it runs across the ground. Just in front. Just behind where the cyclist is. Okay. But there's a little shadow there. Okay. Caused by the building. Okay. We will shadow cast by the building. Even on the road, you can see there's some markings on the road like this that just go off into the distance. So you can just imply some of this stuff already. It's not 100% there, but you can actually see a little bit of this, this little sidewalk, this waiting area where the people were waiting for the lights to change across the road. And I'm going to again imply this light coming from the left. Okay? So a lot of these buildings here, you might get the beauty of this light hitting the sides of the buildings like that. Coming downwards. There. Your darkness on the side of that building. Parts of the buildings just with a roof, rooftop site as well. Underneath the rooftops and things, you get a bit of shadow there. Like that. I'm just implying some small details there. Here. These little structures or whatever they called up the top. Really light gray, still trying to use lighter colors. Okay. And this building here, it's also similar. It's quite another to make it a little bit darker than the ones to the left, but I'll work on it. That just a bit of that lighter or darker color, sorry. There bring that down like that. Just one big wash. And this building here in the front as well. We're going to need to darken that slightly. So I'm gonna go in here. I want to make sure that this building is the darkest part, really just at the front. Okay? This will help to bring it forward more. Making sure you leaving some of that previous wash in there as well. To imply some highlights and stuff like that. Right? Mixing in nicely and we've got a little bit of color Going on. Darkness going on in there. As we move out to the back. I'm going to just put in some lighter color, lighter shade of gray here. Really right, as we go into the distance, I'm just going to use really some water off in the background. Water off in the background. And not only that, I'm going to soften this area, putting a bit of water to just encourage it to blend in almost to the sky at the back. So that I don't get really any contrast out the back there, just a lot of light. But here in the front, we get more darker bits. These buildings here are pretty light, so I don't need to touch them at all. I actually like this. How it looks right now. What we can do is also start putting on a little bit of the darker colors around the base of the buildings, you know, just while the paint is still wet. Some of these bottom parts of the buildings, as you can see, they have some darker bits that we can drop in as well. Just wet into wet. Some parts of them. Even the windows on some parts of the buildings like maybe here or whatever, you could just get some little indications of these windows in while the paint is still wet. Slightly wet anyway, it will hopefully just look less detailed and just a quick little sporadic moves. So a little bit of darker color in there. We can also do that here. Just put in a few little windows on this building and look at that. Just drop that in. Like this. And even on this one here. Yeah. Like that. Some of these other parts of the buildings like this on the on the top you can see there's even these little chimneys or whatever they are sticking out the top of these buildings. Not even sure exactly what they are, but it doesn't matter. You gotta do is just getting a little indication of all this stuff. The separations of the buildings, you can also imply at the same time. Now, I love painting wet into wet get using this to sort of mixing. Okay, here's some little windows I just thought I would drop in quickly. Okay. Couple up the top here and also the top of the building and the little bit of a shadow here as well. That window. Details like this. Okay. This other part of the building to the right like that. Okay. Bit of darkness there. And of course, some tiny little details for the sides of the buildings still like that. Little bit of separation for the buildings. Floors or what have you there as well. You can just flicking a bit of paint running through some of these areas to get in these floors, the indications of these details down here, there. But notice how in the background it's blurry, it's still wet off in the background. So all I'm doing is just dropping in a few of these little indications of windows out in the distance. But I'm not going to really imply them much. They're going to leave these on a lot of these just wet into wet, especially the ones off in the background so that it doesn't look too detailed. The same thing goes for these buildings here on the right-hand side, I'm going to just use a very light little washes for some windows. Then as we come closer, it's getting darker. The windows, the little windows get darker and darker. Then you have more details on the sides of the buildings and stuff like that as well. This is a way to imply depth. But all the way back there you can see it's just mixed together. There is this sign board here and I'm going to just put it in or perhaps I'll just get rid of it. Let's just get rid of it altogether. And this can be part of the background buildings. I think that looks better. Sometimes you need to get rid of stuff like that. If it's just doesn't just disrupts the harmony of the scene. So we'll get rid of that. Okay. Really, all we have left to do is to put it in a bit of color for the people who are a little bit of little bit of warmth and vibrant colors. Even I like to put in for some of the figures and have you walking through the scene. We can put it in a bit of blue for this person here. Here, these little bits of blue, they'll just stick out more. Okay. Some darker one here. It's a darker color here as well. For some of them. It is just a figure on the bikes. I need to get into bike later. The heads too big. I'll have to get that in later and just wing it. Okay. Good. So let's give this a quick dry. 21. Paris Exercise - Details: Now the smaller round brush I'm going to go in and getting the final dark bits and pieces, bring the painting together, the details, so the figures, I'm just going to pick up this neutral tint and I'm going to get the legs in. Dry brush, try to dry brush on this, some of the stuff on. I don't want it to be too, too much going on. We kinda lost some of these figures, but I think there was one here, I just walk in and another one here just standing as well. Another one maybe that side as well. Okay. Not a big deal. Here's another one, couple of legs like that. There. Of course we've got this one here in the foreground. We can't forget about this one. And I want to just getting a bit of darkness on the right-hand side of the figure to indicate the light source coming in from the left. Okay. The light source coming in from the left can do this for the ones out in the back as well. Just to touch of color to the right-hand sides of the bodies. That really white, white like this. There we go. Good. Could be another figure there as well. The tail. We've got this figure in the bike. A little circle for the wheel and for the other wheel there. And just try to get in details, quick little details for this figure. Arms outstretched, holding up the bike, of course. Simple little figure there. Bike is another figure here in the distance. Walking around another one here, just the legs I'm putting in body a little bit of a head maybe as well. Remembering to keep the heads on the horizon line, roughly on the horizon line. A little bit of hair on some of them as well. Like just pick up some some color and just drop it in. Get in here for the figures. The darker color helps to kinda bring them out and make them look like they actually people. And also the shadow is on the ground would be good to just get in and touch the shadows. Coming off. Joining that onto the legs of the figures as well. That okay. So as you can see, we're pretty much almost at the end of this scene. I'm going to put in a few more little windows and details here as well, some more neutral tint. And we can actually just detail these windows more. Do things like actually adding some frames and stuff for the ones here in the foreground. Little bit more. Darkness here for this side of the building to bring it forwards more. Just something I wanted to do. And implies some of the stuff that's going on. Just a little bit of scumbling and moving the brush around to create some extra darkness in there. Okay. You can see it's really quite dark. In this section. Bits and pieces up here as well with some of the some of the windows. I put in some more darkness here actually, right-hand side of this building. Really, really create extra contrast. We've also got some trees and stuff in here as well, so I can pick up a bit of green, just gonna be the green on the brush. And I can just create a touch of these trees or whatever shapes here in the background. Just drop them in. A little bit of green. Running through and behind the figures. Using the side of the brush to make sure that it's kind of. You got this scumbling type of effect. Down the base. It's just darker as well. The trees just add some more darkness than the base of them. Have even got little lamps and things on the street that you can indicating there's one here, you can just put one in behind this figure. It kinda comes in like this and circular lamp like that. Again, there's another one here in the distance. And I actually think this looks so much better without that sign that we'd had in at the start, that signpost right in the middle of the scene really gotten away. I can get get one in here as well. I think that would look better with one here, something like that. Okay. Signpost. Another signpost but a little lamp. Another one here. Just a little one indication of one over in the distance. If I want to get in that power line, I think I'll think I'll skip on that. But I will put a bigger one in here in the foreground. Just get one in like this. Okay. There we are. And let's have a look over here. I think I'll actually put in some sharp at tree branches as well. If I can. Might be able to do it with just this brush. Just some sharper tree branches, runoff in some directions, different directions. If it's too much, just pick up that smaller rigger brush off on the rigger brush works best for little detailing like this. You don't have to worry about how hard you press on the paper. It will just figure it out. That not too much though. Something like that. Just some more perspective lines. Outline these perspective lines a bit more on the ground. Remember they're all going towards the horizon line and the vanishing point. Put this person in a bag or something to hold onto like that. Just darken behind this figure as well with touch. And these ones to create more contrast will then soften a bit there. Just put in some more darker windows or something on this building. Okay. Good. 22. Paris Exercise - Highlights: I'll just do a little lifting in some of these areas as well to create some contrasts in this area behind just in the buildings. Just to create a bit of light and some variation. Okay? Variation in turns. Even in these buildings out the back here to the right as well. You can lift off a bit of paint. And it creates this kind of smoky effect as well. When you lift off apart from, you can put in some white gouache in there and shifted around. That helps to blur the distance a bit. Push it further back. As I'm doing here. Little bit of white, a little bit of white gouache. To that. That also helps to make that distance appear further, further away. I'm going to mix some white gouache with a bit of with a touch of yellow. Get myself a yellowy highlight color. Let's put that in. Something there that is a highlight for that figure. To the left of the figure. The shoulder like this. Just put in a bit of highlight left side of the figures. Some of them will blend in a bit more. Doesn't matter. I've not completely dried that previous wash so that it just looks more looks a bit more natural so that it blends in better. So she leaves figures out here in the back, it's very difficult to tell that they're there. So little little color in there does help. And we just sparkle. For these little lamp posts and things as well. You can bring them really bring them out. And just the little bit of I don't know, she's an indication that maybe some yellow underneath for the lamps as well gives them their life. A little bit of that yellow down running down the side. Of course, some of the buildings as well might have a touch of that yellow on areas of it that you might want to indicate out like this touch of that yellow in areas. I'm just bringing out. The sparkle in here. Does help. Will something like that. Oops. Computer this area as well, this part of the building could do with a touch of light on it as well. Just maybe here and here indications of it. That light coming through from the left. Little bit of that Touch and Go really for some of this stuff. So you can see how in summary, what I've done. I've made a lot of the stuff here in the foreground, darker, little bit more detailed with the buildings, even the figure there with the bag. The figures in the back. They're still not to the too much lighter because there's still closer in the mid ground here. But if we look at the buildings off in the background, it really start to decrease in complexity and in values. Also the lamps, they get a little bit more scrawny and difficult to make out as we go into the distance as well. So it looks like it's getting less and less detailed even if you just cut off the scene and just look at this part in general, That's probably where you can see the most pronounced effect. But of course, including this side, that's what you wanna do. You want to increase that level of complexity in detail in the foreground? Use a lot of wet and wet techniques. And really just the loudest values out in the back of your scene. That's going to give you, in combination with understanding a bit of perspective, a scene that has a, an element of depth and element of realism to it. 23. Sydney - Drawing: Alright, we're going to be doing this street scene of Sydney. And the first thing I wanna do is start putting in the horizon lines are where the buildings touch the ground. And let's say that's roughly about a quarter of the way through. So I'd say, Well, here's the halfway point of the page. We just mark that out there. And half of that is roughly here. I'm going to just draw in a little line coming across. You see the cars and the distance just disappearing off over there is a strong sense of light in this scene. We want to preserve that means leaving parts of the top of these cars visible and they overlap. You can see over in the distance like this. And a roughly around this point here, which is, I'll say a little bit to the left of the center of the scene. This is where we've got some of these buildings. We know if some of these go up like this, like that. What I wanna do is make these buildings in the background a lot smaller than the ones in the front. Okay. So there's one over here also just measuring roughly where they finish off. And I know this one finished off of that here, which is three-quarter mark, part of the PayPal, two-thirds about two-thirds of the way up from the bottom of the page, this little building there. Another thing you want to try to do if possible, is to get in this sense of three-dimensionality. So I'll just put in the side of the building like this. Okay. So that's the side of it there. You might want to do it on this one here as well. A bit of the edge, edge of the building hiding behind like that. Okay. Okay, here we go, and that's another side of the building. This is important so we can get a bit of that light catching onto the building. Little light just catching on the back here. It's difficult to see what it is, but there is some type of tree or something there. You don't need to really outline it too much. Here. There's even another one, the building just cutting in front like this. You're going to remember as well that this whole block of buildings is almost like a silhouette. You, while you leaving out bits of the light on there, most of it's going to be quiet, dark anyhow. Okay, so important to get these drawings in relatively accurately as well. Let's get this running and it goes all the way out, disappears off the top of the scene like that. Okay. Again, a lot of these buildings are just they're just silhouettes here. And we can actually later on cut around some of these buildings or pull out details using plastic card or something, something rather afterwards. Okay, so even if you don't manage to get in all this detail of the buildings, we still have an opportunity later, but just indicate as many of these as you can. Okay, here's another one coming into this large one to the right. Just one big block. What I like to do as well as getting these little side parts of the buildings like that. Like this. That helps to indicate that three-dimensionality as well. This is breached. Crossing over will put that in afterwards. All this stuff is really just one big shape, okay, coming down like that. And here there's even like a bit of the bottom part of this store there. Just like that. Here, there's another one here as well. With that, the other one here. At this point, you can sort of make things up enough to make it exact as the reference. But that goes all the way into this section of the building, that one big building. And you've got some separations here, and also some windows, which we will indicate out later on. But for now it's all just one big shape and I want to keep it, keep it that way. Okay. More these little details inside. Some lettering restores are not going to bother with all the details in here. Just remember just one big shape, one big shape. That's good. All even details further down below, which I'll just draw some of these down. But of course, there's all kinds of trees and things in here as well, which we will in later. Okay, that might be worthwhile just getting in some details of this car. Now here in the front, There's the side of it like this. Back of it. Here. There. That's the back windscreen bit of the rooftop of the car. It's like an SUV of some sort. You've got the tire that's turned going into the seed there and the back tire here. Okay. Circular shape, thing like that. Bumper of the backside of the car. There we have it. That's a car. This I'm just kidding that we'll a bit better. Okay. And there we have it. We've got a car turning into the scene, carving into into the scene and getting some of this indication of the some indication of the shadow as well. Inside. Oops, this should probably be a bit more here. Maybe do something like this and the shadow just running behind it like that. Loved the light source of this scene. And we want to make sure that you're portraying that light source accurately. The back of the card is even these little bits and pieces like the lights, their license plate, the bumper. Don't need too much detail for that. Okay. The roundness of the wheel. It's important. When screen where you can spend all day drawing this in. I just want to make sure that there's enough detail for this side of the car because we are talking about a car that's in the foreground. So there's gonna be more detail that we have to imply with that one. That looks that looks semi decent for a car. Don't want to spend too much time on it. There is a car behind here, but I think it's necessary to put it in. I don't think it would just start to complicate things too much. We do have an overlapping car here. And that's why I like to draw the cause and in the back first because it makes it easier. Then to put in these ones, you'd only need to do is just cut around the car in the back and just work your way through it. Like this is another car will roughly coming out here, touching the ground like that. Again, more of that shadow coming and going behind that car as well. Okay. Good. We can put in another one here. There's really so many of them. Just want to pick out a bunch that you think will be good. And I'll put these in is sort of rectangular shapes like this. Now the rectangular shape for the car. No, there's the windscreen. Roughly the same spot as this one and I put them in near the horizon line like that. There's the windscreen of that car and some of the lights there in the back. The wheels underneath like this as well. Here's another wheel like this. Okay. It's kinda this rectangular shape for the cause. There's the other one here as well. One to the left. There's also overlapping causes another one here. Like that view underneath it as well. There. Now the chi here, this is, this looks like to be peak hour traffic. You don't want to be driving around this time. Sydney. Good. Okay. I'm putting this curb leaving indication of it. And here is where I just want to simplify this down. And let's put in some of these buildings who started off roughly here, go up into the sky a little like that. This is the start of this apartment block or whatever on the left. There's like a song or something that sticks out actually. Side of that building like this, K. Here's another one just coming out like that. And the top of the building, roughly here, some bits and pieces on top of the building and it just comes down. Okay, shown trying to simplify this a bit. Behind that, behind this building, we've just got really the same old stuff is large block of buildings here to the left. Okay, so I'm just going to block that out there. Alright. And here we've got some kind of shop front coming in, comes cross that side of the shop like this, stops off there. This is going to be a nice little opportunity to put some light, reflected light and they're here as well as a little shop front area like that. The sign of the shop front anyway. We're just planning where everything goes. And of course this is leeway to change this afterwards. This bridge comes across roughly here. The distance. It's interesting kind of breach. I was deciding actually whether to put it in there or not, but let's give it a crack. There's also all these polls and I want to exclude, maybe put them in right at the end. With less, less sort of make it less obvious because there's all these little things hanging from it. And I think that detracts from the scene. This year. Infinitely. It looks like a bridge. Of course, we've got people walking along the bridge here, on top of the bridge. So that gives it a sense of scale. People just walking along the top like that there. Make sure you put a foot forwards and a foot towards the back. I always like to line up the heads as well on the rotate the head is depending on which way they're walking. These ones awards to the left. So the heads, the slides it a little bit to the left hand side. Like that. Maybe another car he would be good. Just one in front of that one there as well. Something like that. Not only that you've got all these cars just disappear off into the distance and it's just these like little silhouettes of them. But the yellow part of the top of the cost or the sticks out illuminated by the sunlight and I want to preserve some of that later. Get the top of this building in roughly here. This is that building closest to us. They're all these bits and pieces in here. We don't need to worry about that just yet. Here underneath this and other bits of the sharp the doors, the windows of the shop as well are visible. Um, but again, I don't want to outline them too much. There's even a sign, there's a billboard of something there. There's some figures. Let's put in some figures as someone standing here to the side and talking to someone in the front, right here facing each other. These two people just facing each other, having a conversation and waiting for the lights to change over so that they can potentially crossroad. You get this shadow of these cars and it'd be better like this. You find that the shadows as well of the cars will branch out because the sun's there. It's going to branch out to the right on this right hand side and branch out more to the left on this side. So the shadow is coming out there for that car. This one's right in the center, so the shadow will be right behind the car. This will be nice to do in the kind of wet and wet technique so that it's not too obvious and we preserve that beautiful softness. Inside. Here is some of these windows that I add. We can put in here. Some of these windows will see how we go later. This will be a k to start off with. And we'll go and perhaps modify them if necessary later on. But just in that top part, you can see this kind of perspective of the building as well. Okay. Going up like that, similar to this side. And just put in a few little windows or something. In areas like this, this bit here, something they're already, this is looking decent. I liked the drawing. I thought maybe I'll just put someone here walking walking away from the scene or something like that into the scene. This can be an opportunity to get a bit of a shadow for them. These would be interesting as well. I find this shadows of the figures can be a bit tricky to do in a scene like this, especially just trying to practice and see making those shadows kind of what you call it, consistent with also the cars. Okay. Well, there we go. It tends to be that little slither of lie in-between where the legs meet up. Here. That's a little bit of that shadow. These ones can just go a bit like this. I guess. It's good to just have a little practice. Play around with these before we actually get into the painting. Then I don't have to worry about the positioning of them so much. And I think we are almost there. I'm going to just put in some more figures like this person here could be a figure here just walking like that. Maybe playing with their phone or something. Here's another person, maybe just behind the car there. And one thing you want to keep in mind is that with the cars, you know, roughly when you're standing up, you're going to be a little bit taller than the cost. So this is why I made these figures little bit taller. And this is a large car, there's just some kind of SUV. So usually those tend to have more yeah. A bit more height on them. Okay. I'm almost tempted to have one walking in the center here. Why don't we put, we put one in the center here. I know this seems an odd place to put a figure, but I think it just is going to make it look a bit more interesting so that we don't have all the same things going on. I just don't want to make this one look to mechanical. Just walking across like this. Okay. Maybe I'll modify the head a little bit. The tilt of the body so that it just is tilted a little bit more for widths. Enjoying this up a bit like that. And then the rest of it's just shatter. That's the shadow of that car. Just remembering to leave as much light as we can in here as well. So this is why I'm just using this this pencil works. Plan out what I'm going to be doing. Here. You can put in a few more bits and pieces for shops, Shop France and stuff here as well. Sometimes it does help to just put in these little variations of what's happening here in the distance and the background. Alright, that's enough drawing. Let me get into the painting. 24. Sydney - Painting: We'll get started on with the painting. And first thing I want to put in this whole white, and I'm gonna be using a color called quinacridone. Yellow. Mixing up very light mix of connecting or yellow. Indian yellow is also a good color that you can use if you don't have that, just use any other yellow. And I'm not worrying about the colors of everything yet, of everything else can, we can go over the top, but it is really, there's limited colors in this reference photo that we're putting into. Nice, I'm feeling here nice. Golden color that is really just emanating through this entire scene. Up in the top, there is beauty, this golden color, and then it turns into a beautiful, this reddish color up the top, which pinkish color. So I'm just picking a bit of red, tiny bit of red feather that into the top. Light. Red. Not too much in there. Just to let it settle in a little there at the top. Then I'm not going to touch it anymore. And let's work on the yellow. Bringing this all the way across using this launch mop brush makes it so easy. Just goes through the entire scene, release, yellow, yellow everywhere, all over. Here. What I'll do is also a drop in some other colors. You can also leave these, see these tiny little sections where the brush, the paint hasn't really picked up. It's sort of gone over the texture of the paper. Just leave that in. Don't have to paint every single thing in there. Okay. Something like that. Like that. Maybe a bit more of that red over here on the left-hand side. You can drop in some different colors so that it's not all the same through the buildings. I've even got a bit of this other orange, orangey color. They're not dropping a bit of that orangey color. Going around. Just leave perhaps touch of color for those, or touch or the white of the paper for these figures. But not the rest of it. Don't need to worry about it. Even here. Just cut around these figures attached like that. Don't worry about the cars. Let's just go over the cars here. More vibrant yellow here as well. I've got a bit of this hansa yellow. I think it touches this in the sky area here would be nice just to, to create some extra little contrast and extra vibrancy off in the back. I don't want too much of it though, so I'm just being mindful of that. But I will drop in a touch of it here and there like that. Let's go down. Let's work this into the pavement. Okay. Some more little bit of red in there as well. Perhaps. You'll notice I'm not just using that same color all over the place. You have to vary it a touch. More yellow here at the base. And I'm using a stronger yellow as well here. Because we're closer to the foreground. And it just helps to create a sense of depth. If we're using slightly darker tone near the front. Good. Alright, let's give this a little dry. Alright, starting off rod in the back. Now I'm gonna be mixing up a few different colors, mainly just a beautiful purple and a bit of black. And perhaps touch a brown as well. And I want to get in a, just a cooler color, I suppose in here for the shadow. And let's go head but starts straight off with that building in the back and I'm just dropping this in. This is a bit of I'm a little bit of that color back there, like a pretty light. And using a small flat brush, it just helps to get in the shapes of the buildings better. Okay. There. And leaving the left side and the building unpainted to portray that light. Can you just over there, e.g. it's a very subtle color. There's not much in there at all. I'm trying to make it a little darker but not too dark. Something like this. Okay. So everything in the background doesn't need to be a little lighter. Small mop brush could also help. In areas. Having a look there. It's just putting a bit of color here for this one. Okay. Oops, side of that building like that, I'll just leave out. Okay. I'm just working my way from top of the page down that building here on the right. As we get closer to all the staff here in the front. This is where we just got to be a bit more mindful of what's happening. So we can get this party in. That building is also part of that building here. I'm accidentally gone over, but it doesn't matter. They're here. It's a little sign of something, sign board or whatever. There. This one here. You just cutting around some bits and pieces really. There is whole building here to the right is quite dark. And I can just use more of this purply color, purple in black color, and just putting that color, slightly bigger mop brush. And I'm also wanting to go significantly darker in this area if possible. And this is just going to create a greater sense of depth. In this scene. We've got more darks running in the front of it. Okay. So coming through, look at that just around these parts of the buildings as well. We can just cut around them like that. Here. This is part of one as well. And just cut around that one. Darkness, more darkness coming through. I've only purple is a good color for this type of stuff because we've got all these yellow back there. So the complimentary of the purple makes it look nicer. And just cutting around there. I'm playing around with this until you have a sense of detail begin to emerge. It takes awhile for this tap and those cutting around everything helps. And just referring to that reference photo as well from time-to-time. There. This is another one here. Look that underneath. Now you've got a bit of this darkness using more black. And it'd be the purple. Now together. I want to create really the strongest contrasts right underneath the cars, near the cars and the buildings at the base like this. And just cutting around the cars that they stick out. Okay. Good. All this stuff. Just cutting around it is usual. And here's some people. These figures I'm just painting here and just darker paint like that. Yeah. The silhouette of this building. Okay. I'm just going to join this one down a bit like this. Along with the cars and all that stuff at the base, will pick up some darker color, a bit of purple, and use this little flat brush and go ahead and. Leave some of these bits of orange and things where the tops of the cars, okay. You can just cut around them to touch like the spank them up. Using the edge of the brush for this. Because there's actually some shrubs and things going on over there in the distance like that. Melts off. Let's cars off in the distance. K, h, it's getting some of these buildings to the left. Left these long. The dark. Dropping a bit like that. Because the light is stronger running towards the right-hand side, really. We do get a teeny bit of reflected lights on these buildings to the left as well. Which is why I'm leaving in a touch of slither of color in there as well. Because that just bringing this down, but making it fairly dark as well. Just make little highlights. Things in here as well. There could be a bits and pieces of that building. Ways. I tried to join up both of these as well, if possible. Left and right side and this bridge is going to be a good way to do that. Actually, if I can just start to put in a bit of that now, like that. Because it melts together if we do it at this point, rather than waiting too much, waiting for an older to put it in later. Just a little bit of that to start off with, and we'll go from there, figure out the rest later. Okay, good. This should be probably darker in here. Let me just darken this off the touch in this section. More color in there. Good. What I might do is try to exaggerate the light on the car. And you can just play with this a bit, e.g. see here I'm just getting in some of the windows and things, but I'm just seeing how it will look if I put in maybe some more of the color in the back of the car. Like we use more of the darkness in the back of the car and leave some of it. The left side of the car with more of the light on it. Shape that car bit better. Just a bit more color on that car. Detail it better. But you really just coloring in the back of it darker. He's the tire off the back wheel. Okay. And another car here in front, this one is going to be dark. The back, like that creates a negative shape for this car. The back as well. What it does have a nice little kind of orangey color on the top of it. So I want to get some of that end. Keep that in there. Okay. Good. There are a lot of these cars. A quiet quite simple to indicate actually. We need is a bit of light on the top of it and the rest of it is just darkness. And the wheels at the bottom connect up kinda thing. So here, this is the bottom part of the car. And we use here connect up like that. Top part here. Bit of light there. Here. We'll do the same thing. Bit of light maybe on the right-hand side of the car like that. Bring that down. The wheels here. Okay. That's a car. Yeah. A bit of the shadow on the left side of it like that. And then bring it back down. We use connecting up at the base. We've got these figures as well and I might as well just put in the legs while we're at it like that. Let's figure just walking across the scene. Leaving the shirt will perhaps indicate the car behind this figure or something, something or another to help bring it out. Further. The cause and the distance is kinda start to blend together and it's difficult to tell what 100% is going on in the course. I do need a bit of something underneath the base of the car. They're just the wheel better, better indication that we'll we separate these windows out of touch, swirl something here. The shadows of all these cars and the figures are going to be quite important as well. But let's just focus on getting in the figures, the legs of the figures like this one here on the right first, just waiting here for the lights to change or something like that. And then we've got another one here maybe like popping out behind the back of this car. There can be a lake. Okay. This one's probably just waiting to cross the road. This person. Okay. Let's try to do this all at once here. Now, remembering to keep the light, picking up some of this purple color mixed with black. Purple and black mixed together. Perfect. And just joining up the wheels a bit like that. This shadow is going to come towards the right. Phone, buy this car. And also this larger car here. Joining that up. Joining up this shadow underneath like that, turns into that part of the car. We need more of that. Something like that. They're just exits out the scene really, it's that shopper, a soda. Thin shadow. These figures as well look at that just maybe some indication of the shadows of them going towards the right hand side. Good. Now one thing I noticed is that there is a bit of softness of shadows down to the base. I'm going to just, um, I'm going to just spray down here a little bit here. And I realize now that these figures, probably the right size, this one is a little too small. I'm going to have to extend this figure out of touch the size of that, figuring out a little bit or reduce the size of those ones on the right, let me just spray bit of water at the base. Of the water at the base we get some softness. And I can decide on what to do. These figures. I think we will have to just enlarge this one. The legs kinda go up like this more perhaps. And I'll have to figure out what the top of this figure will look like. A little bit later on. We can also just reduce the size of these figures to by just cutting, cutting a bit off like that, bringing them down further. This may look a little bit teeny bit smaller. This one I'm going to have to extend up a touch like that. It's ambivalent somewhere there. It's always important to make sure that they are proportionate to each other. The figures. Again, just figure out what these, what we can do with these ones make them a bit larger. And because of this, I'm now going to, the figures look a little bit different. This one here we can still have the legs of them come down like this. Together, but just have them further up. That I can be the heads like roughly here. The heads should more or less lineup. Okay. With everyone else. All the other figures. Okay, let's put in some of these shadows here. We saw the car running like this. One. This shadow here just coming out behind and tiny bit of that forwards. Okay. Spray that section at the bottom down a little bit as well. Just to get a softness. There. More softness. You have marks in there that are kind of more damping down the bottom there. The shadow of that figure like that. Okay. The car here also that do that shadow. And of the figures as well. I'm going to work underneath this sort of building as well to create some extra details on the left-hand side, remembering to leave a bit of space for the heads of the figures that we hear. More here. Cutting around the sort of sign boards and top part of the stores. That I mean, it's really yellow running through some of these windows, a little bit of that yellow, but apart from that, they're all quite dark. I can switch over to this larger mop brush. Do some of this work. Yeah. I'm not fooling around there too much. Good. Just cutting around some of these windows like this. Like this. Here is darker yeah. Apart. This area catches the sunlight. Leave that out. Often what you leave out as more important skill in this sort of start getting into some details with these two shops and things on the background. I don't have to color it all in. And I can leave a square here or something and the rest of it can just be lighter, like this. Left-hand side of these shops that's just getting rid of more darkness in there. And you can just leave out areas of yellow as well. To create details. Look at how this p is starting to really take form. Just going to redo these shutters, Let's just make them quick. This joining on to that softness on the ground. And this one here we can probably get this, don't do this one again, just get a more stronger shadow of that car on the ground like that. This one here just again, create a bit more contrast like that. And I want to soften off this area touched just spray bit of water there. Some softness in this shadow. Milton to the ground better. Okay. The important thing I think is to preserve some of that light. Go behind this one a bit. The shadow underneath this car has been, there should be more darkness underneath his car. A couple of little figures here on the bridge. Just put the silhouettes of the mean. Just walking up ahead on the bridge. I'm tiny, little detail like that. Just to draw out the bridge better. I don't want to overdo it just the bottom wherein more finishing touches Let's put on some little areas of darkness of charges he used to bring out parts of the painting here where the cars are. I'm just going to redo areas so that we can bring out the darkness of it. In the background there. Extra contrast details on the cars that you can just put on this right-hand side of the cars. Okay. I'm really just getting in these final darks. I'm using black really. You can mix up whatever color you have on the palette that will recreate a really dark color. And if you've got a red, blue, and yellow, you can mix those together as well. Nice. Gray. Is this section there, I can just get that in. You call it this part of the sharp. You'll find it on the right-hand sides. There'll be these stronger contrasts of darkness. Back there. Also, you'll find is things like these windows, separations of the buildings. Just try in a bit of this detail for this building, he is indication of a window, just some light that I saved before, many tiny bit of color there. That this can be the edge of that building. And really I can maybe darken this bit here. Some more bits of darkness underneath these areas. Extra verticals. Let's do some on this side, some extra details. Okay. This can be a window or something that window there. Gouache. The highlights, heads and shoulders like that, just dropping a bit of that wash. 25. Madrid - Drawing: Alright, let's get started with the drawing fully scene. And the first thing I'm gonna do is put in the area, the separation where the road, the ground meets with the bottom of the buildings. And if we have a look at the scene, it's roughly mean it's you could say it's almost a quarter of the way through the scene. So if you mark the middle point and K and then divide that roughly by half. I mean, it's just a little bit less than a half really. I'm going to put that in and just stop putting in a line crossing over. It's just straight line joining up the left and right the scene roughly a quarter quarter of the way like that. Okay. What I wanna do is get a rough silhouette of these buildings in the center of the scene. Right in the middle. Going up is where these larger part of the building comes through. And we've got the dome. Again measuring the top of the dome. I would say again, the top of that dome is about a quarter of the way from the top of the scene. So we could we know roughly in the center, we have a good measure, roughly in the center here. And away from the top, roughly here. A bit more to this side. And here I can just start putting in some little basic details. There. There's 333 floors, isn't there? One can just separate this out. Roughly 123 and then the dome that goes up on the, I'm just going to be a bit more careful with this structure of it. The details, okay, is like top there, just the top part of that. Just getting a little indications will silhouette really up the top. Like that. I mean, a lot of this, a lot of this. I'm going to reduce down the details and make it more of a silhouette like shape. You can even see there are a few windows here. Here, maybe one over the other side, but I'm not going to not going to indicate that too much, just little bits and pieces. Bring this down. You can see further below you've got more of these little windows as well. But the main thing of these pillars that come down, there's like three pillars, general pillars like one to actually there's 43. And then another one that's kind of a round the back ends of the like that. Some windows in-between. Okay. Yeah. Yeah. A lot of this is gonna be done with the watercolors, but just the marking out of it is so important as planning technique. It's in pieces there finishes off actually. There's some kind of structure here to the right-hand side. I'll just get that in. It's like a part of a building. And on top of that, I mean, it really looks like there's some something else going on here, maybe construction or in some top of renovations, it's hard to see exactly what it is, but it doesn't matter. Simplified down. We can see this, some of these entrances here, the base as well. So I'm going to get in a little bit of that, like that. Now, the whole left hand side of the scene really just goes all the way down and then disappears off in the distance. And Dan here and I'm trying to just see if I can simplify this down a bit. Larger, sort of doesn't go that high, but this section here just goes up to this part of the building using other parts of this tower. Here, this front part of the building to judge roughly how high the other bits and pieces or should be in the background. A lot of this stuff I'm more just making up in the distance. I don't want it to be a huge. A huge impact because as we move closer to the scene, we also want there to be extra details in the foreground. Closer to us there. And it's another separation of a building here. There's one here. That's kinda like a edge section of a building like that disappearing off. Probably more like this. Like this. Lot of this will again just be a silhouette off in the distance. I don't want to dedicate too much detail and effort for that section. Can even see some buildings and stuff. The left-hand side, we don't need to really indicate those. You can see even running through these, these like Windows as well. Windows and things here. A little quick indication of that. Linking all this should be done in a quick note, a quick just a quick wash. Really. Don't just needs to be the bid I hide. Make sure we detailed better. Helps to mark out where everything is. These little doorways at the bottom as well. I think they quite important to put in some of them. It's a bit of darkness and whatever going on there, the back here, you've got some building or whatever off in the distance. There. See some floors and soldiers dark the base. And then again you can see just all coming up roughly two here. Looking at the dome, we've got some other buildings like this. Part of a building that sticks out this larger section there. Like a few floors, I suppose, of this building here. Of course is one larger building coming over here over the top and disappearing off into the distance. The background. This light is going to be important too. But on closer there, you can see just all these buildings. They have separations running through them and I'm not going to bother with all the details, just bits here and there. As long as they get smaller as we go into the background and you can see they just have bits that stick out as well on the top sometimes like these. Just some elements where we can get in some highlights there as well. I'm not going to bother with all the tiny bits and pieces. The pencil, wait until we go on with the brush. Brush work. Here we've got a bus or something like that. We can see here just like this shape of the bus here. We'll get that in. Kind of like the back-end of the bus stops just before the door of this front side of the building. And you can just put in pencil in like the little wheels here. Other than that, if you can see it's just a box on wheels. You need to draw in there, just a little box. And there's even cars. There's a car just in front of it here that we can get in like this and drop it in the box. A little box on wheels. How I think of these these cars underneath them. I just connect them up, connect the wheels up a little because there's going to be shadows under the, these cars here as well. Look, you can see it's the bus is a bus here that's getting pretty close and it's just facing us. It's roughly in the same spot as the car, but it's actually significantly taller or something like that. I'm just going to put in. Little indication of that. They're the front windscreen of the bus? Yeah. Top of it could be a bus or a truck. Who knows? Here as well. We've got another car off in the behind down here. Another one here, perhaps. Another one here. All of them are just for purposes of this scene, just a little shapes, boxes that joined together. This is another bus even coming in the opposite direction. And it's again, that sort of boxy shape. Okay? You don't have to get all of these in mind. You just gotta get some of them. This is car that's pretty close to us here. Getting the side of it and the windscreen far getting in the front windscreen makes it easier. You can picture where everything else fits in. Once you get in that front windscreen, lights. And then the side of the card is a wheel here. There's a wheel here. Underneath is a wheel there. That's a car, a little car. It's another one here on the side, just kind of behind like that. The back windscreen like this scene, backside of that car. Join that up. There. We haven't got another car just in the background. Okay. Now the car here, When screen there behind, just looking at these boxy, boxy shape. That's the main thing is boxing us. That as another one. Not too pleased with this one. See if I can just shape it better. The front of it better anyway. There you go. Just give it a bit more boxy. This should be the same thing goes for this one as well. Just extra structure to it. I mean, it's not the end. We can change it still in watercolors laid off, but it does help to have a good foundation block. Okay. That's good. That's enough cars and apart from maybe a few out here in the back, I can just get some heat, maybe just waiting at the traffic lights or something off in the distance. Implying a few there. Okay. I like the shadow pattern on the scene as well. So just getting some of this beautiful shadow that runs through. I also thought perhaps we can put in a person figure. Question is, where are we going to put this figure? Here? Figure standing on the road. Maybe walking through the scene like that. Can have another one here, maybe almost just walking or running through this scene. In this area. Another figure there waiting to cross over perhaps into that side. I'm just trying to pick out spaces where I've don't have any cars so that it just looks better. I don't want to have too many of them as well. Maybe one here, just waiting in this area like that. Okay. Good opportunity to make some of these shadows for them as well. Read through the legs of this figure. Just want to give it maybe some more some more level of movement. Okay. So even a bus here, I could barely see it, but it's behind that car as well, like that. I think this forms a good basis now for our painting, I can see even some trees and things coming in here. May put some of them in afterwards. But let's go ahead and let's go ahead and get started. 26. Madrid - Light: So first thing I'm gonna do is I'm going to put in layering a nice wash for the sky and the buildings. So I'll pick up a video of cerulean. Nice wash of cerulean blue first. Larger brush. If you've got a large mop brush, just anything that holds lots of water. And I'm putting in a lot of water for this wash, mostly just water. About 90% water. It's going straight to the sky. Very, very light wash of blue, blue feather that in like this. And be careful not to go over the building as well. You just want to make sure that you've got a nice separation between this blue and then the warmth of the buildings later on. Okay, So I'm just making sure that a lot of water on this brush to the same time, cutting around that building. The dome. The dome is less of an issue really. It's just some of these other buildings and bits and pieces. But I don't want to overthink it as well. Keep it nice and fresh looking. Look at that, just cut around and when using a large brush, that's also one of the advantages in that you don't tend to overthink things. Because you can't, you just, you don't have the luxury of fussing around. The sky wash should just be really light color for this particular scene. You don't want any kind of really dark areas of the sky. That's gonna be the lightest area in here. Okay. Just cut around these bits and pieces as well. Going back to my palettes quickly to pick up more of that paint. Okay, here we go. I sometimes like to put in a little bit of darker blue at the top of the scene to create some extra depth. Normally. I just feather it in like this. This is a bit of ultramarine blue. A little bit of it, not too much k and this should hopefully work. Work its way down. Little large brush. It really makes it easier. Okay? Otherwise you just need to overthink things. Looking good. I mean, it's up to you whether you want to add also some smaller cloud shapes. E.g. I could think to myself, I want a bit of purpley clouds or something like that. So I can mix up a bit of purple. Just a bit of lot of purple and just think, okay, well, I'll just drop, drop 1 billion like here. Like us get to a cloud in like that. Like that. Yeah. Okay. Just a bit of purple. Keep it interesting. Just feather it in while the paint's still wet like this. And finally, adding some little ones further down helps create that interesting sense of continuity and makes the clouds makes these top ones look larger as well by having some smaller ones further down the page. I don't really know, overdo it. So I'm being quiet, sparing here with some of these little clouds and things like that. Just a little bit of something there in the sky. Do the trick. I'm going to work on the buildings. And let's start putting in some color. I'm gonna go with this color hue, which is called Buff Titanium, like an off-white color. Let's drop that into this. Here the building. And again, it's mostly just water, maybe 80% water, roughly, top of color. I'm looking for maybe a bit of yellow ocher in there. You can use that to just get it to warm up a little. But apart from that, you don't need to do all that much, just a bit of that it might mix into the sky as well as you can see touch of it. But don't, don't worry too much about that. And the top of the building is a cooler tinge to it. I'm going to pick up a darker kind of purplish color with a bit of cerulean and they're not sterile, inserted bit of ultramarine. Just drop that in like this. Maybe getting a B, this creaminess at the base first of it. Then we'll go in over the top like this. Maybe I've got a smaller brush. This will help smaller brush. K bit of purple, bit of blue mixed in there. We'll have to do you have to do the top of it later? Hey, just something like that. Some of it might mix into the sky, are all just as often it down later. It doesn't matter. Just a bit like that. The main thing for this washes year just getting in that first quick sporadic detail and warmth for the buildings on. I don't want there to be too much else going on. Okay, So mostly these light colors bring that down. Here. It's just coloring all these buildings pretty much the same color and a bit of bit of yellow ocher as well in spots to just warm up. Just warm up the scene. Here, a bit of blue Buddhist Suilin or like a, a cooler color running through that building. So I'll mix a bit of that in there. Y-naught, the rest of the buildings, just these same color. This buff titanium, white color like that. Cow quickly, I'm doing this. If you've got a large brush, as I'm using here, it makes it so much easier to get this done. So you want to always make sure you're picking the right brush. Something that's something that's suitable. What you're painting. A bit more on the left side, that's getting the rest of this stuff here. I need to paint over it in as well as you notice, I've just left some bits of whites and the paper. It's going all the way down until I hit roughly those cars. Let's see, this blue and I'm dropping in some areas of these buildings as well to get some coolness in the sides of the buildings. Another thing with this shadow on this side of the buildings, I was thinking of making it part of it softer. So I can cherry pick up a bit of purple, darker purple, and a bit of black mixed together. And I can actually just drop in an indication of the shadow on the buildings while I'm here. Just a soft shadow because this will blend in and create create that shape of the shadow. While the paint is still wet. I didn't want to just darken that down more though. This good. If it starts, if you think it's dark drawing too quickly, you can also just spray it with a little spray bottle, as you can see here. That just gives you a bit more time to continue on and play with these affects. The softness of the shadows I think is something I wanted to put in here. Just my personal take of it. You can do it after as well and create sharp shadows. But this is just one of the things I wanted to do. Looking at that reference photo and just making sure we've got enough strength to it. Not darkness to it as well. Okay. This building here is pretty dark as well. This one here, It's actually can see the floors and stuff of it too. I'm just putting a few little. Brush strokes like that. The base, I'm just making it a bit darker here. Okay. Bit of darkness at the base of this thing here. Add the building. Just cerulean. I'm just layering over the top with just slightly cooler colors. Hopefully contrast helped contrast with the yellows on there as well. Starts getting a bit out of hand, just make sure you lift off that paint. Main idea is just getting in some of that shadow shape on there. Okay, good. So some of this stuff is already beginning to dry off while that dries off, I'm actually going to put some color into the ground. And I'm going to pick up this kind of same what you call it, golden bit of buff titanium and a bit of yellow, lighter yellow. I'm going to drop some of this into the ground here. And it's definitely a little bit more vibrant here. But I want to create, move some of this stuff down, like this. The foreground. And I've created a little bit more vibrancy here as well. Tiny bit more vibrancy me to cut around these figures and cut around the cars, like you can see here. Cut around them. And just bring this all the way down the page. This is going to be a lot super-important. Need. The cars goes all the way, all the way into the foreground. More vibrancy like this. There we go. All the way to the foreground. In just a moment, we'll do this big shadow on the top of it all as well. Just having a look to see how this is feeling, that area is starting to dry nicely. To smaller brushes. I'm going to add in shadows and some basic shadows of this building. That milky white color. Then I'm mixing in with some purple. And I want to get in some sharp looking shadows. Okay, it doesn't matter what kind of color use versus long as it's dark. And that's a little sharper. But you can see it hasn't completely dried yet. So there are pits, bits of these buildings that are still slightly wet and you'll get some Fourier edges in areas, but you should be okay. I think having a mix of some theory edges and some sharp edges is completely fine. They're just putting in a bit more of that. And he is a bit of this building there. Okay. What I'm trying to do is preserve a bit of light on the left side of these buildings. Okay. I'm kind of like the light peeking through areas really in the background. It's so vague, but you can imply a bit of that. Just like that. Softness back there. So here we go. This is getting closer to the front of the scene. Now, just putting in some of the details of this building. You can see some of the light on it already. You want to leave some of that light on, really important. But at the same time, this element of darkness on straight underneath is going to create some better contrasts. It's getting some extra purples and things here for this building. Just bits and pieces. I'd want to preserve. I want to preserve a lot of the color on here, the back ground color this world. So don't want too much going on. As I move down. Woods as well. I'm going to mix up myself some darker color, darker, neutral tint in there. Like I was saying before, just find some darker bits you want to imply and dropping. This is mostly paint and a little bit of water on here. And you dropping it in as the as the paper is still slightly wet in air is dry the brush off a little bit as well. And this allows you to just get in a more subdued bit as well like that. So I'm just indicating these windows. Okay. Just a few little windows. Draw the brush off and then drop it in and you'll see some areas they do look more sharp than others. Because the paper is at a different stage of drawing. The ones at the bottom are a little bit more theory. Some picking and choosing some of these areas that I want to just drop in a bit of these windows because I'm going to have to go over the top of it again anyway afterwards. These are just some bits of darkness. The base here swell in the background here. Now you've got more dark areas right at the back. And this little flat brush helps to actually draw out the contrast of these so much better detail than I have to fiddle around. The larger brush. Spray that down a little here. While we're at it, let's put in some of the shadows of the like cars and stuff just a bit with the backside of that car. Windscreen here. Example of that one. Light, really just light colors where you can see some potential shadows. Light source coming from the left-hand side. Okay. You don't have to call them all in as well. We can just leave it white. I have a side. Okay. I'm gonna get in these large shadow on the ground with a flat brush and some purple. And let's go ahead and just do it. Drop that straight in. You can see it's just, I mean, it's just coming in really firm. But we might simplify that shadow will be at now, I want to leave more light. So something like this. You can see running through the legs of the figure. Maybe coming up across here. Just get it in. Cut around that figure as well. I want to leave some of it showing so that I can get some proper thylacine afterwards. Okay. Excellent. Okay. Let's give this a little dry. 27. Madrid - Dark: Final step and we're going to put in little details to finish off the painting. For this, really, I'd like to use small brushes. So basically little round brushes like these ones, like a three to a six round brush and a little flat brush. They are all synthetic brushes. Work really good to get into details. And the first thing I'll probably start with is just the top of that building. Because we need to get in a bit of this indication of this little statue on top. So I will drop some paint in. I don't want it to be too obvious as well, but I think it deserves some attention for sure. Oh, I need to do is just make it look kinda like a person standing up the top there. Okay, Try that, brush off a beetle. Wings, wings like this. Simplified down. Something like that. As soon as it starts looking okay, I'd suggest to leave it. I have a tendency to overwork things if I'm not careful. So it's a very common thing with watercolors. You can see the top of this dome now and I pick up a bit of this, whatever paint on the palette. This is, in this case a bit of purple and a bit of black. And here you can do things like just drop in windows. Like there's a window here, into here. This little separations in the buildings as well that you can start to indicate and put in. Okay. It's just small details that pull together the scene give it a better sense of identity. But you don't want to overdo it. Yeah, there's like a couple looks like this. A bunch of windows here as well. There's another one here. Here's my little round brush. This will help give it a different feel. Round brush. The pillars. I think. I'll just try to getting in a little indication of those pillars. Simplified, of course. Just spray it down a little bit. Okay. This building here in the back, I'll just cut around a touch like this to draw out the shape of the main part of the building in front. So just dark and really a bit of that background of touch for that effect. To get that effect anyway. And I'm going to just put in a few little if e.g. this is the doors indication of them down the base like this. Now you cannot even start to put in little details for the buildings and the top of the buildings. I thought there's actually some softer shadows running like this chunk getting quickly, that there's some soft ones that run towards the right-hand side of the sunlit areas. Put in some windows have indications of windows like that. Just running through the top. These areas like that. This finding some small bits and pieces to indicate. Like that. They'll run through the entire back area of the scene. Now actually indicate a little bit of the detail, those buildings of what's going on in there with a few little brushstrokes. Just going in there quickly. Mostly just paint. You're picking up a bit of that dark paint on the palette and tapping on, moving on really over the top of those softer shadows. To get these effecting. As we move into the background, who find that it just gets more difficult to see what's going on and you don't have to indicate a whole lot back there. Darken that down at the back like this. So often this doom bit of water. I'm going to add some water here so that it has a nice soft edge. Okay. Work a bit on the buildings here to the left as well, again, just with a bit of dark paint and picking out a few little spots. You want to indicate further? This is just sort of a side of the building. I thought I'd drop in a bit of line work like that. A little bit on the sides of these buildings. You can just feathering helps give the painting a sense of dimensionality, depth, detail. You see just around these buses and stuff, cars and things like that. I'm dropping in some extra paint is actually, is actually some trees here. I've got some green on the palette. And I'm just going to drop rid of that green in there to replicate some of those trees. In this section. Just indicate that they are there, but without much effort, just dropping them in quickly like that. Okay. Let's work a bit on the cars. I'm going to go in with some darker paint and work on the base of the cars, just the wheels dropping them in like this underneath the cars. I'm just looking at where you want to further elaborate on what's going on in here and there, e.g. this window, you could start to just draw in parts of the window with the brush painting parts of the window like this. Okay. That's all it really takes. The the the back side of the car. So you can see and maybe do a bit of a shadow underneath that car as well. Like that. The figure cut around that figure. Therapy to this line work for the actual car itself is like this, does help. We can put it a bit for this car here. Well, main things, the wheels getting in some darkness where the wheels and then connecting, connecting it together on the ground like this is really connecting up in. Also got small these windows that I can just indicate quickly. This bus and the background is can be tricky. There's a lot going on there. I'm just going to darken it a touch. Apart from that. Warrant. Tried to put in too much detail there for it, a little bit of color there. Have a look at this bus here. Does need to be darker in the back area. So just color that in here, the wheels on the bus that's connect them up. Such the back end with just some darkness like this. We haven't got a bus. Of course all these are going to have shadows as well. So let me just get in some part of that shadow running towards the back like that. This car here as well. Look at that in just a bit of color off for the wheels. And you're good to go. Connect it all up nicely. As you can see, soften that quickly down. Here. Another bus or something off in the distance there, which I thought I'd quickly indicate. Okay. It's amazing how little you need to put in there to indicate that there is a car or bus or something like that. It's a shadow underneath it that starts to pull it together. You can see like that. That just takes a bit of contrast. I thought I'd check in near to the cars and things to draw them out more effectively. Just extra black. There we go. The shadows or so for these these cars, perhaps just running almost towards the front of the scene, I don't want to overdo it, just something like that. All right, In some of the figures and details for the figures as well, getting a touch of color for them. First, I'll get some cerulean or some turquoise color to a lighter color. Suppose for some of these figures, because they're near to the yellow parts are actually putting a bit of red as well. Red and blue maybe change it up. We've also got this figure here on the right. A little bit of color, that figure. Okay. Then I'll grab some darker color. A bit of neutral tint is putting some legs that kinda just walking through the scene. This one you use just maybe standing static like that. Shutter. Having a look around to see what other little bits and pieces I could add onto indicates some further detail. And you can always just find things a little bit more on this area would be good. Just some tiny bits and pieces. Pick out some areas. Okay. Pizza contrasting dark areas inside. Again, this we are at the back here. Contrast that creates a sharper edge saw to this building like that. So I can just draw out the front of that coding better, dark and often hear better as well. Putting some windows and things in these back buildings. Notice just the extra darkness and some parts of the buildings like this top part there as well. You can just start to at times, I'm putting little bits and pieces like that to finish it off. It looks too strong. I will just soften it like that. So often it off with that brush. Lot of this, I just want to do more dry brush down and that huge amount of detail this door and there's just so much going on in there, but I don't want it to overwhelm windows and things off here in the back buildings. It's like a traffic light here as well. Something like that. I'm running some little shrubs coming in from the left. I'll get some of them in some green and some darker color. Okay, So it just feathering in a bit of it like here. Coming in from this side really just not too much. I like to just exaggerate the branches a bit as well. They really look like a tree or something like that coming in. I find, especially with these watercolor scenes, we're removing a lot of detail. I've said this a few times before, but sometimes you go to adding an extra details to compensate for what you take out the scene. These can be just under leaves or whatever. Just one shape, one big shape, really. Sure. Darkness and the edges. Add on some color for some of these cars. Just a bit of blue, yellow, something. Warm it up. You can be kind of warmer. Boss has slightly darker blues in there as well. You didn't have to call them online. Just some of them. These cars here. Basic, so much detail in them at all. You've read for the heads of these figures indicate a heads. This. Details on the buildings just in a lighter wash of color. Dye more diluted down. Finally, a touch of white gouache. Some highlights. Probably go in some of these cars first, like this. Keep it quiet spearing sparingly, just apply it. I don't want too much on there. And so it just helps to bring back the sum of these white areas here, shoulders of that figure, the top parts of these car. Anything that you think could help bring back a bit of light. Again, don't want to overdo it. On the shoulders of this figure and the head. This tops of those cars, this one here, even there are some little cars back in the distance that you can potentially just bring out slowly like that as well. I don't want to overdo it though, as I mentioned before, just little bits in there. These doors and things I can just I'm getting a little highlight, a little bit of white running on like the corners and things, even the dome, just a bit of gouache and the left sides of some areas. You might get a bit of light coming off. Sometimes I like to mix it around with them to cerulean, bit of gouache with cerulean. And then you can get some different variations of a color, lighter colors off in the background. And I know this that'd be there as one or just putting a bit of blue section, dial it down a touch and adding a few little bits and pieces there. I don't know, just to create more interest and a smokey feel helps to kind of blend those two buildings together as well. Actually, these like poles, traffic poles and things running through in areas. Okay. And that's finished. 28. New York - Drawing: Alright, so let's go ahead and get started on the drawing. And the first thing I'm gonna do, as always, is pick out the area, find the area where the buildings touch the ground. So we want to figure out how much ground we want. In here. There's really not much. The majority of the paintings chest. He's buildings. I'd say. We can probably put it up here, roughly here. It's putting a little line going up. This is really important to put in as your first step so that you know where the buildings and the cars, everything like that starts and finishes. Okay, so we've got the main star of the show, the smack bang in the middle of the scene. I'm going to go ahead and just roughly paper and a pencil in where we want the building to stop. I'm actually going to stop it a little bit further down. Okay. So that it doesn't go too far up. Because when we have it too close to the top of the page, the buildings, just it just tends to look a bit awkward I find. So just getting a silhouette, I'm going to come down. And they seem like that just has to be fairly accurate. But don't spend all day figuring it out. Something like this. All this is going to be some kind of silhouette. Once we're done with it, I'm actually going to create more of an angle, slightly more of an angle like this. Be more like that. That's better. Some people like to use a ruler. I just do it by hand, gives you the practice. We've saw. It's a little wonky and areas, let me just sharpen that up and touch. Good. Putting in a bit of indication for the structure of the building. Um, you can actually see there are windows just running all the way down. I'm not even going to count them, just going to simplify these down. And at the end of the day, when we look back at this, it's going to look, I'm just going to look more like a silhouette than anything. The top part of the building. Here we go. The windows are kind of tricky to draw them all in. I wouldn't bother really, we're getting them all. Just indication rough little guidelines. And as you can see, the I started to flatten out a bit near the front. They become more pointy at the top. There we go. Main star. And roughly about halfway up, we've got a building here running in. You see the side of it as well. Coming in from the side there, we've got more buildings off in the back one there. This one here. It starts to get difficult to ascertain whether a new one begins and what have you as you move further back. But just improvise. It's only the ones closest to the front that you need to pay attention to more the rest of them, they just formed silhouettes anywhere. There's no need to detail there. You've got this nice buildings is a larger one. This one goes up a bit more and we've actually got this dome, which are, which I actually quite like going to emphasize this a bit and we'll finish maybe here. Simplify down different layers of it. Kinda like three slightly increasing boxes on top of each other. And then the top of the dome, which is just this shape really. Okay. We have it dome underneath. We'll simplify that out. And watercolors, lighter. I have all this would just be dark. And let's work on the buildings here to the left-hand side. It's sort of mimics the right-hand side buildings, anyhow. Like that. This is one building here. It cuts in front and actually has a bit of an edge to it like this side to it. There. From that, everything else is just large blocks of buildings. And that's a big one here. Large building. Then there's another one here. Just, again, as you move into the distance, everything just starts to get smaller and smaller, less detailed, and you can barely see what is happening. Often the distance. But simplification is your friend here. That should be the only one I'm kind of worried about is this building. Because being the main star of the show, It's important that we get it right. And I've got too many lines here that are kind of just wishy-washy. So just get rid of that and work my way through it just to create a bit more of a sharper edge for this building. There you go. That looks better already. Sometimes doing it and broken lines just don't know, it just looks better. That Let's work on some of the bits and pieces in the foreground. Now in these cars are a huge part of this scene. I want to make sure we've got some detailed in for these cars. I'll start off with this one here first is a large tech. See, here are about a bit of this pencil. Get the back of this car in. Can you make it fairly large? Sitting on the horizon line, the windscreen comes down. Please. Note that you can see the side of it like that. And it comes down a bit more like this. It's like an SUV taxi thing. Like that. One wheel there. Another wheel there. Will here. We will hear. Okay. There we are. I'm going to just connect this up on the underneath as well with touch like that. It looks better. Tail lights. That window separator looks good on point front of the car. Like that. Okay, Excellent. There we go. We got a pretty decent looking car here. I always try to treat them like boxes, really drawing boxes. I always draw the one rod at the back first. It makes it easy then to get the ones in front that's sort of overlap. So here we can see this. There's a windscreen at the back, backside of the car again. And here, the darkness and the again the side of that car that just comes down and forms another part of that car that we have another another car. And a bit of darkness underneath it like that as well. There we go and do another one. Right? Two cars in there. The one at the back is the most important one. As you move forwards, it just becomes a little easier to get into details because you don't have to over emphasize what's happening in there as you go into the distance. More so just the back of the car I think is the important thing and this boxy shape of it. You've got another one here that's just kinda facing forwards. You can only see the back of it really. So I like the idea of that one. Just put it in and see the side of the car a little bit like that. Apart from that, it's not much else bit of darkness underneath there. There is a boss big bus in front. And I can see Saad of it as well side of the bus here. So we can just get that in touch. Just a box. We got to look at them as box on wheels. Darkness for that one, and a bit of darkness underneath as well. Maybe car or something out in the front. I'll put the person here just walking across the scene. A few figures actually like that. Just to create a sense of movement and just to be genus in here. The way I sort of draw the figures is lean the bodies over to the direction that they're walking. So you can see this one's walking towards the right, this one's walking towards the left. And the front foot in line with the front part of the body and the second back foot, sort of outstretched as well. Could have a person, just, oops. Person also just over here. Walking a bit more slower to good. More cars in the distance. And other one here, just getting a bit of that detail underneath it. This is the footpath. Just getting a bit of that perspective. Okay. I please have all these lines that run towards an imaginary point here. The distance. Draw the lines towards that point. Going on just in this area. And I think that should be okay. We'll work out the rest of it as we paint. 29. New York - Light: Okay, First things first, I'm going to pick up a bit of this grayish color, putting that straight onto the page, just put a gray leftover from my previous painting. It's kinda funny because I'll looks almost monochromatic in some parts of the scene, but I'm going to add a bit more color into what actually these are just this is just a bit of gray. I've picked up off the pallet a little bit of gray. And I'm going to actually drop in some cerulean blue in the sky as well, because I just think it looks better with some of this Cerulean in the mix. More nice, a sky color. And mixing it with the grey creates some interest. Here as well. Could be almost as overcast, slightly overcast day, something like that. It's just dropping in a bit of that. Cerulean. The top, move my way down and just pick up more of that gray color and work my way around these buildings or touch, I'll actually want to drop in a bit of a little bit more vibrancy in the buildings. I'm just darkening and a little bit more at the base as well. So that I can potentially create some contrasts with the building. Buildings. Not all of them, but maybe these ones on the right-hand side where we've got some light coming in, just something like that. This could be a storm or something just brewing in the distance, Who knows? But just using this large brush and when you paint with a large brush, whether it'd be a mop brush or something like this, you are forced to simplify and not overthink things, which is what I, I really like. Dropping a bit of this up here. That could be like a storm or something. Some storm clouds. I'll make some more over on this side as well. Join them up a bit more cerulean and just running down on the left. Is that just cutting around the buildings a bit. Going down there. Maybe I'll go with a bit of extra gray, little bit of extra darkness in here as well. Keep it consistent on both sides. I mean, it's quiet, subtle really. I mean, it's just a bit of extra darkness at the base. Normally I actually put more darkness at the top. But I want to emphasize some more of these, these buildings here at the bottom. Just trying to get in a few more kind of larger cloud shapes, if possible. Blue and beautiful blue peeking through the sky like that. While it's all still wet. I mean, this is the perfect opportunity to do stuff like this. Flicking paint as well. Let's put in some more colorful the building. I'm going to actually stop putting in a bit of yellow bit of this. It's kind of like a golden yellow that I've got the palette. I've also got some of this other stuff which is buff, titanium, and off-white color. Just dropping in a bit of this in areas. Don't worry about painting everything and just leave out a bit of Y if you can. You don't have to paint everything in. And I'm just trying to meld, blend in the top section of the scene bit more with the bottom area, and also putting more of these warmer colors near the base. Mop some of this up. Started to pull a bit there. Some more, little bit more yellowy orange color here. Like that. You've read even to make it too saturated. Good, that we are. Really just the light colors in this wash. We don't want to get in anything more detailed in here. Just a bit of warmth, light, and that's it. Okay. I'm going to move down to the bottom of the scene. I'm going to pick up a bit of yellow, tiny bit of yellow. A lot of water. Just to getting some light on the ground. Vibrant, some of this light over here cutting through the cars. I just put a bit more saturated yellow. Running through in some parts. Doesn't need to be too obvious, just something like this. I'll move all this down the scene as long as it's got a bit of this warmth in the ground and it's very lot you using mostly just water, 90% water, ten per cent paint, carry all this stuff down. You should be good to go. All the shadows. I'm going to actually do sharper, so we don't need to worry about that. The cars, I'm going to do a bit of orangey orangey yellow. This one here, beautiful orangey yellow, like that. It will mix into the ground. Perhaps. We can even just color the whole thing because it's gonna be all darker colors behind, in front of it. Anyway, after we got a bit of warmth, that one bit of warmth maybe for this one and the East kind of cabs running through here and mix it up a bit and putting some of this is something for this one here. Blue in there. This one kind of like a grayish color, just something to dial it down a bit like that. Notice how I've also just left some of the roof, the side of it as well. White. Okay. Colorful. These pedestrians. Blue. Just some cooler color. I'm just very at a bit, maybe with some purple allele. This one purply blue color. This figure. Purpose of using this brush to keep things loose. And we'll give this a quick dry. 30. New York - Darks: For this next step, we're going to go in and do the buildings all in one big wash and bring that shadow down the foreground. I'm going to pick up some purples that I have premixed purples. And you can use a gray even, but I'm using a purple, maybe a bit of neutral tint as well, which is just a darker pre-mixed gray. And the purple just adds a bit of coolness in there as well. Sometimes a bit of ultramarine does the trick, something like this. Okay? And I'm going to go really just straight into it. It's just put it in that this large building in the background. Some of this has started to spread around externally off not being careful enough, that's okay. It will start off at the top here like that and just work our way down. Okay. I want to just keep it one color, one big shape. For now. We're adding some more colors later. Okay. Drop that in. I'm trying to get into the right-hand side a bit better as well. Just nice and accurate. That bring it out as touch there. Okay, Good. Top it's done. We can now just relaxing. Move on to the bottom part. Like this. And I'm going to just putting in some of this color here. And I know that initially in the reference photo you've actually got a bit of light on the side of that building, but I'm not just deciding not to put it in there. I want to simplify this down much more than how it appears. Okay? These are some buildings in the background and I'm using in the concentration of paint, probably 50% paying 50% water. I tend to use just enough paint to make sure that the silhouette of those buildings looks strong enough, but I don't want it to overwhelm. And that'd be the darkest because actually the cars, the wheels and stuff, That's the darkest area of the scene. We want to save those highly concentrated mixes right till the end. As we move down the page. And let's move this one down like this. We've got more here in the back and also just watered down this paint as we move further out the back as well. I want it to be darker. I'm slightly slightly lighter than the than what we have on the front of the building. Okay. Simplify that. All the way down like this. Leaving some of the white left on the paper as well. That helps to create some highlights for later. Just leave some of those in. A bit of a yellow bits of the yellow left on as well. That works well. Good. And I'll just work my way up and getting bit of detail and color for this tower. But look how quickly I've done that. I don't want to spend all day on that. It's closer as well. So this needs to be a bit darker here on the left. Now as I move further down the page, I'm beginning to go darker. And the reason for this is I want to create just the maximum contrast with these cars here. So if I can drop in some extra paint in here, that's be ideal. But before I get too excited, I just want to finish off these buildings, the silhouette of these buildings off in the distance here. Okay. And to cut around these cars as well, met two kinds of buildings and things running into the distance and simplify them down. Use that to cut around the car. Here, this yellow car, the foreground. Okay. That's good. That's my flat brush. Continuing to work our way down this side and cut around these car shapes here as well. Really with quite a dark color. It's just black. Neutral tint. Technique I'm using is just create extra contrast. Bye, maximizing the tone. The darkest tone here. Okay? So this can be an area of focus that once it starts to look okay, just leave it and continue on. Even here, I think a bit we can do with a bit of extra contrast as well. That's just cut around these bits and pieces here. Ended up a bit odd. We go good. Okay. Now time to put in some details for the cars. I'm going to use the same flat brush. You can use a round brush, whatever brush you want. And I'm going to just drop in the shadows. So the, really the dark has parts of the costs. So you can see here it's like the wheel, okay, In the back side of the car, lots of water but also lots of concentration of paints, probably 80% paint, 20% water. Just putting in that wheel, Thai are there at the back. There. I'm getting in that maximum contrast for the darkness underneath the car and the wind screen as well. There's a lot of darkness in underneath the windscreen, in the windscreen self as well. So just something like that. Okay. You can soften some of this off later as well. E.g. here it's kind of a slightly darker yellow, just mixing a bit of black with that yellow and drop that in here. You can see it's just blend that down a touch like this, but still retains the yellow. Good. A bit there for the windscreen, the side windows amines, we'll still retains that yellowy Hugh. Darkens it down by adding just a bit of a darker paint, really. That's all you doing. Okay. Rework that top part of the car so that it's sharper. Let's work on this car here in front. And again, it's just a darker color in the back. Okay. So using this darker 80 per cent paint, 20% water mix, cutting around that car. And it's really, really dark. And again, you're getting in that wheel, the sides of those wheels, and the darkness underneath the car like that. And you're joining it up. Okay, maximum contrast. Like this. I'm going to just getting the wind screen, but leave a slither of light on top of the car like that. You see that? Just a little sliver of light right there. Or I can just cut around like this. Good. There's even some little side bits of the car that you can indicate that it takes just a little, something like that. And then the shadow underneath connecting up, you can see the wheels touch of lot underneath the car as well. I'll do this one in the front again just a little bit more. That one that helps to bring out, draw out the contrast and where each cost which starts and finishes. It's quite interesting. An interesting technique. And leaving out, leaving out the yellow as well. To preserve parts of the scene super-important. That look at that just a bit of the black from the wind screen. I'm going to mix some of that black with a bit of yellow now to darken off this back area of this car. Because it is darker. This one on top here as well. It's kind of like a grayish, grayish color. This bus drop some of that color in there. It's actually pretty light. See if I can leave a bit of light on the top of it as well like that. And it does help to just draw out a contrast with the car underneath it. Just by cutting around that car, leaving a slither of law on top of that car. Just bring that down. And K Now back to the darker paints again, just a lot of the black that we've premixed before. I can see underneath this car There's quite a bit of darkness. I can get the wheels in like this. Join that up. There, we have it. We've now got another part of that car loops like that. This truck as well in front or it's a bus but it looks like a truck now. Just that darkness underneath it joining together. Okay. And suddenly you've got a little bit of extra detail like this. Let me just join that out with the car better. Like that. Trick is to leave a little bit of a light underneath the car. It'd be the light. I'm trying to just get this shadow in for this car bit more. Work on maybe some shadows running in the other side of the scene. It's very sharp looking shadows. This car in front as well. I'm going to just do it darker. Okay. Whoops. Too much paint. The darker sort of shaped like this. And this will bring out the white truck and work on the wheels, just darken the wheels down like that. And then you've got again another car off in the distance. Okay. You've got this car here. I can just put in a little bit of gray paint there. The wind screen again. As I move down, again, just getting that dark paint. Connecting it up. There we go. We've got some wheels. This can be one here as well, just dropping in those wheels and making it look like they're off in the distance like that. And I'm not even coloring in a coloring in the top of those costs for that one, just leaving them the same color. The previous wash. Okay, a little bit of detail for the figures. I will just put in some of the legs really dark color as well. Like that. I don't know. I find the quicker I do these, the better it tends to look. Moment I stop fussing around too much. Lose the plot. Okay, there we go. Leg. Okay, the shadows. I'm going to have to figure this one out as well. As we go. This is a big shadow here in the foreground, and I want to get this one in. And also over the top of that we'll get the figures. The darkest shadow of the figure is running, running through. This car does have a shadow that just runs a bit more towards the back because you can see. So I'm going to cut that up a bit, runs to just make it run through the legs of that figure. This dark green underneath some parts of the car to draw out this shadows that are that just this negative painting that brings things, brings out the details. Okay? Having a look through, just reassessing what we need, what else we need to do. I think we will go and do that large shadow and large mop brush. I'm mixing up purple and just a bit of that dark color on the grades that I have here as well. The shadow is not as dark as the darks on the car and things like that as well. It's it's probably about 60%, 60% paint and 40% water. Sharp cheddar. Make it coming roughly from here. And it's important to try to do this in one go. You can. Okay. So they're just trying to figure out roughly where I want it to come through. I know that it's just dark here. Good. Then I'll color in the rest of it. Now. Move it down the page. As I move further down as well, I'm adding a bit more paint, little bit more darkness. As I get right to the front, It's just I'm applying a little bit more paint right at the base. Helps to, again, create a sense of contrast in your scene. Would have extra darkness at the front. So that's why I do it like that. Too much, but just as significant bit of darkness at the front and sort of shows a bit of this gradation affect the paper should the paint should run down. I can remove a little bit of paint here as well, just to create a softness and parts of the shadow. I need to, but something technique with a bit of paper. Okay. Great. I'm just going to spray few little water droplets in areas of the painting. This is just to create some contrasts and little effects, I guess, when the paper has just about dried, I'm always in the process of drawing. I find that just adding a little future droplets of water on there cause these micro blooms to appear. And it just looks interesting. Little more interesting when the paint dries, I don't want to overdo it though. Just a bit here and there. Okay, Let's give it a try. 31. New York - Highlights: Final steps, bringing out the little details. And we'll put it just a touch of red for the heads of these figures to indicate where they are. A little bit of red for them. This will just dry off. While I'm working on the background. Buildings for the buildings, work with the principle of less is more. So. As you can see here, I'm just mixing up a bit of neutral tint, bit a darker color. But I'm also just drawing off the brush. So we've got a pretty dry just a dry brush. As you can see. We're going to start probably over here first. Let's just work on a few light touches for this this dome. And I'm just working on shaping it a bit. Okay. Not, not adding too much in there, but shaping it around and drawing in the floors of it as you can see, just these little floors. As you go down. Just try your best to pick out a few details like because of these tiny little windows or something here, I can just simplify and sticking quickly. And we do the same thing here because I just little areas of these buildings here and the distance and just picking out some small details so you don't want it to overwhelm. You just want to imply something that's going on in there. I'll actually put in some gouache to add in some colors and a few bits of interesting effects and stuff later on. Look, there's even like parts of the building that you can indicate and get detail, detail out a bit like this. In some little windows. This simple form that down lines running in the background just to show the hypothetical floors of the buildings and things off in the distance like that. You can even do it here for the one here in the foreground. Just a little touch. That just gives the building a bit of perspective. While you add in these windows. Large one's going to be a bit tricky. But same thing goes as before, simplified down. When all of that brush mainly at the end, because you can really start to mess things up if you give this one too much tension. So close to the middle of the scene. So just picking up a little bit of paint. It's fairly watered down as well. And I'm indicating the floors. The floors anyway, not all of them, but some of them like that, makes it look a bit more three-dimensional. And then you've of course got the little windows and things just running down the front of the building. And it all, all it takes is just a touch of paint on showing here. Just a touch of paint them. In other areas down the side. You can just indicate windows and things like that as well. But I'm not gonna do all of them, just a few here and there. I want this just to be in the background and to be noticeable, but not to take over everything else. Some more windows here. Little indications of windows off in the distance is not much at all, just tiny bits and pieces. And of course you can, again just imply some of these buildings off in the distance. So you can see better detail for them. Let me just finish off these figures as well. Darken down the legs. I'm kinda lost the art before and of course, adding a touch of shadow for them. Okay. That join the legs together with the shadow. Whoops, this simplify it down. She put a few little fees guiding lines running through the painting as well. Mentioning before some of these directional lines. Another thing I've noticed is that there are these little street poles as well. So we can pick up a smaller brush like a rigger brush and go ahead and work some of these in a microscope. Put one here. Something like that. There's one. There's maybe another one here. That, Yeah. Here is another one. Here. Using the brush to just draw little details in. He's trying to find a few little bits and pieces I can add on some hair for the figures. Difficult to see. Just something that is touching here. Bag or something. Just literally just, these are just a little touch up details. Here's the building to help balance it out of it because we've got so much detail below, but really not much above as well. I'm just a touch of that will be good. Wonder, maybe some birds flying about will be also good. At some interest. Little bit. Create another layer of contrast in areas of the buildings. Some spots to bring out the main building in the center of darkness around the edges. It's a bit of extra shadow or something as well for some of these buildings would be good. A lot of these are really just in the dark, but they are being one color. They just tend to be 1to1. I mean, looking a bit boring. Okay, I'm gonna finish this off with a bit of gouache wash. Just to bring out the final highlights of the scene. Using it straight from the tube. Light here, top of this figure's head. The shoulders. Here. Just on the shoulder. There we go. Another visual light. Shoulders and the back. Here. You got to use it sparingly as well. Don't go overboard. Now I can put a little bit on the car, e.g. like, bits and pieces like that. I'm bringing out some extra little highlights. But you again, don't overdo it, just a little touch of it really that you almost can't tell. It's there. Even some of these buildings you'll find that the light has disappeared from some parts. You can bring bit of it back by doing what I'm doing here is using the gouache, dragging a bit of it through. Suddenly got a little bit of contrast or a little bit of white back into the buildings. Even do it a little bit here. Some parts like that. Little bit of cerulean blue. I'm just picking out a bit of cerulean blue and mixing it in. And this creates, just allows me to create a bit of a different color for the for the quash highlights here in the background, I can just slowly add a touch of detail, a little highlight or something like that. They're good. I just thought I'd put in some of these. Are kings and the road. Not necessary, but why not? That's finished. 32. Venice - Drawing, Light: So let's go ahead and get started with the drawing. And I'm gonna put in where the bottom of the buildings are. And you can see right in the background the cathedral and the Santa Maria del solute. And then we've also got an area at the front. We've got some closer buildings. They roughly around the same location. Obviously the ones in the background with a little bit further back. I'm just going to stress out of it further. Okay. Let's go here. I'm going to just pencil in roughly this building, just a little indication of the building itself. We've got this pylon here, this pillar. And it's kinda statue, I think that's St. Mark. And I'm gonna go and just draw in a little bit of detail like that. All this is just accomplishing is more just getting in a little indication of where everything should be. Now, I'm always just looking at the sheet of paper and thinking to myself, am I leaving enough space for the rest of the scene of this one? I've kinda broaden a little bit further. But roughly it's about a quarter of the way through the scene. If we have a look at this little building here, goes about a quarter of the way through. I can maybe a little bit less, but I have enlarged and that a tiny bit. And here I've just put in this wooden, wooden Jedi that goes out. There's a kind of another thing here. It looks like a little I'm not sure what they're called, but little heart or something like that. I'm just putting in a quick indication of it like that. Okay. And the interesting thing is that we've also got these these lamps. I think I'll get it in afterwards. I want to put in the details off in the background of Santa Maria della solute. And I know it goes roughly about here where the roof of the hut is, the bottom part of that. There is just a rectangle. Look at it as a rectangle like that. This side here we've got another part of it. Okay? Just getting a bit more dimensionality actually than what's in the reference, but I think that will pay off later. There's a circle on top like that. Just enlarge this area a bit as well. Let's get in this sections again. The roof part, like that. It's going to be two parts there. It's interesting. Then we've got like a back section to it that just runs off like that. I'm going to be the 3D. Look, just a box really again on its side. If you simplify things down, That's all you really looking at on top of it as well. There's another looks like another part of the building like this, like that. Just simplify that down. And I'm gonna go ahead and get in this top part of the building, that sienna color. Okay. Just a boxy shape like that. The bottom part of it. They're just running like that. Okay. Touching the ground and be like, okay, good. Let's go put in some of these some of these like bits and pieces for the dome. Okay. Just that, just get that dome in there. There's a tower running up here as well. So just I'm gonna go put that indication that tower and do this side of it as well. We can get in bit more detail like that. And of course, this part here like that, this dome should be tiny bit, a tiny bit smaller, actually doesn't hit that tower. You can just alter bits and pieces as you continue drawing. Okay, there we are. That's part of that dome. We've got the other one here which is larger. It just pretty much touches it as well. Top part roughly here, taller than the other one, and larger as well. Okay. So we need to make sure I've got that in. At least the proportions need to look somewhat accurate on top of the taus as well. You do have these top parts like this. I'm just going to indicate that touch of that flares out a bit to the side like that or something like that. And a lot of this stuff I think we're going to actually just get in silhouette afterwards. I don't want to put in too much detail back there. K, right hand side of it like that. There's some buildings over on the right-hand side. A lot of that stuff's kinda obscured. And then we've got a tree just runs there. Another tree here as well, which forms the side of this building. So I can just go in and get some more that building in lots of little bits and pieces that we can just indicate, but not really have to detail that much. This is like another sort of top part of the building, the dome or something like that there. Door here, we got to the door here. The separation in-between simplify this down. I've got this, again, this pillar that runs all the way out this statue. Just a little indication that that little pillars and things running down there as well. It's not too much. The drawing. I want to get lots of this in afterwards. Okay. Let's get in this lamp post, like this. Market is one lip is another. Ear is like That. Lamp. Simplify that down. This is that Jetty P or whatever that runs off like that. It's also some buildings off really far in the distance side. I don't want to indicate them too much, but just something like that. Okay. Good. We do have another which you call it, set of lights here, a little lamps like this. They're running down the page. And here we got another one to just running up with a bat here and start just getting in some of these some of these lamps. There we go. That's another little lamp and I will just get the base of it in more like that. Okay. I'm hoping to get some some shadows as well. I'm going to start placing in some figures, some indications of figures, like a walking across and around into the scene or what have you in. I think it's good also to just play some that are just walking sideways. E.g. having a whole busy looking scene of people just doing their own thing. And as we move into the back, you'll notice how the figures, you just make them smaller disappear off into the distance. This is just a bit of scribbling wide. I don't want to spend too long trying to get in all these little details. We can do that with the brush later on. This is just an indication of the legs and where they go. Could be smaller child or someone here. Just change things up a bit. Sometimes you can get their hands to come over making it look like they're holding onto something or changing up. Just the way that these figures are walking. Quite a lot going on in here. You can even get a bigger one here in the foreground, because that can be a big one just so we're standing here in the foreground. Another one here as well. That's feeling and first washing. Before that I'm going to use a large mop brush. This is like a goat's hair brushes, a lot of paint on there. Or you can pick up a lot of paint on there anyhow. Hey, I'm gonna go with all the light colors verse I'm going to pick up a bit of this color, which is called buff titanium. It's just a light wash of an off-white color, which I believe is the color of all these buildings out in the back and even in the foreground. Or just want a light wash of this. Let's see, Just go all the way up into the sky. I'm trying to just touching go with this here because I want to keep it as light as possible. Drag that down. This wash that we're doing here. The purpose of this is just to get in some color, some nice background color. We don't want anything any detail in here just yet. Okay. So something like this, maybe on the lights, it's put a bit on the lights as well like that. Bits in the background. There's also some yellow ocher which you might want to pick up some times. A touch of yellow ocher in here keeps things interesting, though. I don't want to get too carried away. And this huts kind of like an brown in it. I'll just drop in some of that there. This is just a bit of burnt sienna and you can also drop it into some of the rooftop areas like that. You think there could be some little bits of brown and stuff in the distance. It's just a simplified version really so that we've got some of this stuff in there. Okay, good. And let's just carry that wash on further. I'm going to use this same kind of off-white color, but I'm also going to mix it with a touch of this yellow to warm it up. Just cut around these figures as well. I want to, I want to paint all the mean. Just carry this wash down. Remember, just it's a very, very light wash of color. Just to get rid of the watts on the paper. Almost not even there. Barely see it. Look at that simple quick little wash of color. Now for the scar, I'm getting some cerulean blue. And maybe I can as well pickups. Tiny BU here, which is like a purplish color, but mainly just this cerulean blue. She's got that. That's all we need. Just a light blue for the sky and all this stuff to just bet blending. Essentially. I want that to blend in with the buildings a bit. So it can carry this down and look at that, just simply touch it on that error. You might get a tiny bit of blending where it meets. But don't worry, I'm cutting around these lights here just to expose a bit of that white. Just a potential highlight for later. Here. These are trees and things back here actually. So that doesn't matter. I can actually get them in with a bit of wet and wet work in a moment. Here on top of these, say just on top of these little domes. You can actually just cut around a bit like that. It will seep in as well. But don't worry. I'm thinking of making those everything in the background kind of a lighter silhouette or darker and darker than the sky. Look at that, just carry that on. There we go. We've got finally got our washing. Blue sky. Just want to even this out a little bit so I don't see too much of those brushstrokes and bits of dried paint. Just tend to find this cerulean blue tents does dry with some extra marks and things in there. Can also pick up a bit of another color and just drop it in like this for the potentially like a cloud shape or bit of variation the sky. What else to do? It should get lighter as you move down the page. Okay. Quick dry. 33. Venice - Darks: Okay, so what we're gonna do now is that we're going to work directly on buildings in the background. And I'm going to change the shadow pattern so that we've got more shadows on this side of the building making it look like there's light source on the right-hand side. I think that's gonna be better so that I can get in some of these shadows and things, maybe a larger shadow shape as well as this shadow for these, these two lights, I just want there to be more dramatic contrast. I'm gonna be using these two brushes. Which one's best? This one picks up bit more water to little mop brush on the right-hand side, left one's just a small, small little round brush, synthetic round brush. This is some cerulean. Cerulean, some ultramarine as well. I added in here to just give it a bit more, more corners. And we've also got some black. You just mix some of that in there. Keep it interesting. Okay, we're going to test that out. Let's leave it. That's the right consistency. So we're thinking really just it's mostly just water in here, but because the paint is so dark, even when you dilute it out, you're gonna get this going to look dark anyhow. So we want it to still be transparent. I would say about 50%, 50% water or even less paint. I'm just gonna go around this thing here, cutting around that. I'm trying to be quick with this as well, so that I preserve some of the freshness of this scene. Like that. They're here as well. The shadow on the left side, left side of this stuff. Good. Let's have a look here on this tower as well. Probably going to get a bit of shadow here. This is just using the, this is just using the synthetic round brush mind you. That area. Let's have a look at this tower. Maybe a bit of darkness underneath. Even you, you will find is just a touch of darkness to the left-hand side of what we try to create this shadow pattern. They're just bringing it down. But at the same time, just cutting around some areas of light and really indications of what's happening back there. It's not a whole lot that we can go off. She were changing around those shadow patterns as well. Okay. Yeah. It should be more. Making some of this stuff up. Figures here in the foreground looking at I'm cutting around them as well. Darkening off at the bottom, the touch. Okay. Coming around here to make it a bit of this on the dome, just like that. There we go. Let's be better bit on the dome as we go up as well. Do you think that top of the Dorians just need some more darkness? Even that the tail would like that. Join that up better. Just helps to Martha towels a little bit better. Know how to explain it. But more of this darkness on top. K, extra darkness. It's the top of it that I don't have to redo that one a bit later of smudge the retouch. Good. Let's have a look on this side. I can darken here, just leaving some more bits of light on the buildings as well. Back there. We've got some of this green, I'm going to pick up some of this green to add in on this right-hand side. This tree. Blend that on one of the two blend onto the building a bit. Cutting around the figures again so you can see. Okay. So now I sort of granulating green just comes and cuts, cuts right over the back of this building that they have. It's kind of like the part that touches the building. Just going to be more of this purple down the base here as well. Just get some darkness for that. Okay, good. I'm just trying to put in some little minute details for the separations and some of these domes. Just more wet and wet view in areas without too much overworking there. Good. Excellent. Get some of this burnt sienna, yellow, maybe a bit of raw umber mixed in together. And just see if I can get in through this color for the hot here. Okay, I'll leave a bit of that light on the right-hand side of it. Much it off like that. Then the buildings you will notice as well in the background is a tiny bit of this burnt sienna on areas of the rooftops. So I can just only indicates some of that without too much effort, just dab it on areas. Let it, let it sink in and do its thing. And it should fingers crossed, create a nice little blend, natural blend in there. That me doing too much, getting too involved in that whole mix. Some of this stuff in the background to hear here. Good. You can also see some of it on these little Jimmy column. These areas, wooden poles and the Jedi or whatever. So just, we'll just put in a few quick marks like that. I'll go over the top of it probably later. I'm gonna get a chance. There's also some potential water back there. I haven't indicated it, but you can see what we can do later. But I just want to get into this crisscross pattern or suppose back there. Good. I'm going to spray this building a bit to get some, a soft shadow onto it. Let's pick up that same kind of purplish color that will playing with before and just dab it in here and get a soft shadow running across the building that I didn't want to stop it from spreading too much. Something like this. More more Okay. Good. Here on the ground. I'm also going to play around with some of these shadows. So say mop brush, picking up more purple purply color. You realize there are some other bits and pieces in there as well, some browns I can just mixing some ultramarine blue to accentuate the kind of coolness in there. Let's have a look. Okay. I'm going to just cut around these figures in some areas and preserve some of the light. I want to get in. Maybe a large one here, large sort of shadow shape. I can just soften off this edge as well. We know it's just a soft bit of softness on that shadow. Okay. True darkness in the foreground as well as some of these areas could do with a bit of extra darkening. Okay, and I'm going to just work on another potential shadow here. That's basically the statue. Shadow of the statue moving across to the left a bit like that. Hey guys, straighten out the shadow would touch this angled. We're just going to put in some little colors on these figures, some lighter colors. This is a bit of that. It's kind of like a purply light purple color, lilac color. There. We can have a play around with a few of these other figures and just drop in some paint. Doesn't matter exactly what color it is. But I do want to make sure that I've got a blend of different colors. Perhaps with some of these figures, just dropping it in to get rid of some of that white or whatever on the paper. You don't have to call them more in some of them, I'm just going to leave white like that. 34. Venice - Final Touches: It's time for some finishing touches and final finishing touches, a small round brush and a small flat brush. And go in here and pick up some darker paint. This is just some black, got some neutral tint as well as there's a good color for this type of a final finishing touches. And I think what we'll do first really depends where you want to start and start anywhere, but go here, e.g. when you use a figure there, then another with the legs in for that figure here. Here. I'm just tap really just dab on an area. One area, it just looks a bit too tiny, bit too wet. You can just spray it down a touch to dry me with that. But I think always a good idea to just keep the paper dry as you can, as dry as you can for this part, especially if you're just, if you're not too experienced with painting figures, just makes you able to control this paint much better. Hey, look at that. I'm just using a little flat brush there, but you can also use a round brush like this. Okay. Doesn't matter. Just get the legs in the background. Here. You maybe that's this figure they're here. Just get it to skip over the paper a bit as well. So as sometimes like that nice little sporadic couple of little brushstrokes. Their legs. Because when you're in the sun, especially it's going to have little jagged bits and pieces. More figures. Another one here. Here. Oops, that one looks a bit too much, but doesn't matter. Okay, good time for the more of these little bits and pieces on here. I'm actually going to darken this pole little bit. I'm going to add some kind of grayish color. Working this out, something like that. So that is darker than the background like that. But you still got good amount of paint in there to distinguish it from everything in the back. Like that. Just one little thing like that. Do the trick and go kinda comes into the ground like this. There's something here, some steps or whatever, and also a little fence I think surrounding that onward, overdo it. Here's a window. Window here, something like that. Trying to do my best to keep it. Quite quick. Spontaneous droppings in some more darker paint in there. Another window or door here, I should say, like that. Okay. Can just nail, pick up a little this paint that's left palette and just use the paintbrush to draw in tiny little indications like that. When the building of the some dark areas really want to overdo it. Had these little pillows on the buildings as well. So you can just do this kind of thing. Just pick up a bit of darker gray. Just draw some lines downwards like that. That should do the trick. Not all. Not too much work, just a little indication like that. Can even see at the top there, there's more of these little bits and pieces. Indicate them. I'm going to work on the back buildings. They got rid of that darker paint dry off the brush. And I can just quickly go in here and getting some details for the the cathedral here in the distance. They have to be much just a little thing here and there. Good. Just putting some shadowy, dark areas to separate out the buildings or touch. Show just bits and pieces of that going on in here. And also maybe increase the contrast a touch as well. Please figure this here, just the heads of the figures so that the background is darker. This tiny little brushstroke that help to draw out the details. Moving almost into the foreground. Now this is the hot, we've got that just touch on like that, drawing a little bit of the detail without overdoing it. With this. Use the rigger brush with a darker color. The flat brush again, just crisscross some of this away. I'm just going to put in some details for these, these lights, dark paints, just lamp black I'm using here. Just connecting it all up. And I'm drawing some detail as well for the lamps. Are you can you read this page? Is just a couple of quick. It will land areas let simplified down here as well. Let me do worry too much about the detail as you go towards the back. Putting a few more v, little imaginary pylons that are sticking out. And the extra interest in that area. Tree as well just emphasize the sum of the branches and stuff off in the distance is kinda fence or whatever they're going to get this shadowing. This one years ago. I think it should be okay. Actually. Maybe another one like this. Just to indicate the source of that shadow. A bit better. Software. In the shadows of the fears. Welcome, Nice. Some of these figures a bit more, especially the ones in the foreground of thought. I'd put a bit more blue. The left-hand side. Some of them. Okay with that. Coloring the heads, just some red. Indicate where they were. They are a touch of goulash back here. Just to get a smooth key sort of effect, perhaps with white gouache spread around a touch. Drop that Guassian let it do its thing. Just kinda helps to blur out that background a little bit. I want to push it back. While I'm at it. I'm going to just put in a few little bits here and there with some darker paint just like this. Tiny little floating around in the sky near the cathedral. Darkness. Dry. In a final finishing touch of some gouache. For the heads of the figures. Pieces you want to indicate. Just a touch of gouache like that. And it brings out some highlights quite quickly. Just try to do it sparingly. Doing it on the right-hand side of the figures As well enough to do it. And all of them, just these ones in the foreground they could do with a bit more. Soften this down a bit. What help also to soften this area where the feet, legs just joined with the torso so that it blends a little nicer. Here on some connection to someone. Doesn't matter. Just profusion. Finishing touches really with the black. Bring out some highlights. Just areas of darkness. Mean. That's finished. 35. Manhattan - Drawing, Light: Let's go ahead and start off with the drawing. And I'm going to put in the bottom of the buildings roughly where you can see them sort of go off or away into the background like that and then come out. But roughly it's about here. You've only got a little bit of tiny bit of space at the bottom, I'm really, I'm thinking whether I would actually want to change this up a touch so that we've got more at the base. Raise it up a touch. Roughly here is where the buildings are. And I think I'll start off actually painting, drawing the buildings in first. I'm going to go up and actually do this one, this larger one here. I can leave enough room at the top of the page. This is the bigger building. And then we've got this one here. Roughly the same size. I'm not getting I'm making sure that I'm leaving enough room because this building actually comes all the way down to the middle here like this. That it's roughly the coming down like this. The center of the page, as you can see, that we've also got everything else so we can just start putting in some of these other buildings off in the back. Biggest one here, just behind. Going to get this all the way. Know that it sort of comes up here, touches the top of the building here. And then we've got another sort of squarish. And the bit that comes up like that, It's not a huge deal. Something like this. This is going to be reduced to just a silhouette. I want to make it a bit more interesting afterwards. Just some granulation. Now this building to the left starts just above this area of that building, this corner down. For simplifying this down, actually, more of a rectangular shape that just bringing this down, we can see it just goes off into the distance. You can swell and see exactly how far does get a little there and then it's covered by tree bits and pieces there. That's about all you need. I think anyway, for those buildings, we can figure the rest out as we go. Maybe the bottom bit here, we can just mark in a bit of the that area of the building and that kind of thing. But apart from that, I think we should be good. Let's put in some and it's putting the car here. Their windscreen, I'm enlarging the car a little bit as well. It's a two lights connects up. A base of the car, joins on with the wheels. And then it just as we will here, we will hear probably close to the back. This connecting up. Okay. That's a car simplified sort of car. Just redo that we'll touch more. So just circular. There we go. That's better. Wheel two wheels. That you're gonna be enormous, shadowy green cast to the left as well. That car. Good. We've got a person here that's showing a bike. I can just get in some quick little indication of that little shadow there for that person. Will do notice there's a big sort of shadow cast to the left all the way back there. This is good. I'm just going to pencil that in roughly where it is. Maybe we have one also here. Cutting through that. All the way, something like this. Here we go. Some figures. Let's put in person here. Just standing on the sidewalk. Another to the left, kind of goes out of frame, but I can just draw more in some people just waiting here, the lights. Okay. A little perspective as well. If you imagine a dot right here, just draw these lines going towards that dot. You then have these kind of perspective lines going through the scene. Here you can just start putting in these pedestrian crossing the nose like this, following the guiding marks on the ground. Okay. I mean, it just goes all the way back there. Disappears off and we're going to do it all too much in the other areas, but just, just around here. Okay. More figures. Lot of this stuff with the figures are I can add them in afterwards. No big deal. I do want to put in some cars and just some interesting shapes of the cars moving around in the background as well. So I'm going to just place it in a few of those like this. Overlapping cars. Boxy looking shapes back there with people people walking as well. Walking around. The scene. Looks like a car or something like that. Side. Something there to indicate that's a car. We use. Neith. We're ready to get started. I'm gonna go in with a lot of this yellowy color first. And then we'll just want to get a light wash running through the buildings. As you can see. Nice yellowy wash running through. We've also got some brown bit of this burnt sienna that you can drop in there. Okay. For this washer, I'm not concerned about the exact color. I just want to get in a really light color, base color for what's going on in here. Around the figure touch like that. Because a lot of this, I'm actually going to get in with a big sweep of color later as well, kinda similar to what I'm doing here, but I'll be leaving some bits and pieces exposed. The back ground color. I'm even doing that here with the Yellow Sea, leaving some of the white of the paper there. Here. Just putting a bit of that color for this building. And b to the y, just leave a bit of that white on the paper as well. Keeps things interesting. For the sky. I'm going to pick up just cerulean, just to touch us cerulean and get that in quickly, loses a bit of a bluish color up there. I'm happy. Maybe a bit of this gray drop that in as well. I just want this all to go in. I can cut around some of these bits of the building so that it doesn't mix completely in as well. But also, don't worry if it does mix. I think in some areas it's actually good to let it do that. Kay. Just coming across the right-hand side. This Yeah. Yeah. Good. Some more purple maybe at the top. Something. Just a few little darker strokes. Feather in. That mix. Too dark. Okay, moving down. We go here, we're going to just get some same, same sort of yellowy color. This is just yellow ago. Got drop that into the ground. Okay. Give it a quick dry. 36. Manhattan - Darks: For the next step and give me using a smaller flat brush and a larger, the same large brush that I use in the beginning. If you go to large mop brush that works fine. Going to work on some of these shutters and find ways that I can actually get the mean, especially these ones in the foreground and a little bit more of a softer way. Then I'll blend them into the back of touch. So let's mix up a bit. I'm going to mix up some purple to purple, blue and purple. There's a bit of brown in there as well. Doesn't matter. Let's just drop this in like that. Have sprayed the sprayed this down a touch. Let's see if I can just get in a bit to this side to get it quickly in that shadow on the left side of that building. And whoops. I'm just sure I've got this in fairly accurately like this. Okay. That's just that bit on the left side of the building. And I'm gonna do the same here. But this is gonna be a bit more of a softer look on this building. I want this to blend a little bit. Okay? That the blend a bit nicely soft and down. But because I still want some light on that building, touch a light here. Okay. Notice strong won't get some, it'd be brown and just add that in there. This is a bit of burnt sienna. Drop that in there quickly because we've this building is kind of got that color on it anyway. Something like that. Okay. Good. We know on the left-hand side of the building, It's just pretty much the same thing. It's bro I will leave some little spots in there. Okay. Just bring this down. And you can just make some little cutouts and things in areas just leaving the previous Washington. I'm gonna just getting that building here in the back though is a few little brush strokes. Just trying to simplify these ones in the back and touch. Bring them down. Smaller flat brush for this one on the left, I'm going to getting a soft shadow. Again. Spray that, bit down a touch and just drop in some of these color. This is just a bit of the purple. Okay. It was pretty nicely like that. Just darker. And carries on a bit to the left hand side of the building. You can see. Okay, Good. Little bit of details for the back buildings. Small purple and black just mixed up 50 per cent purple, 50% black. And then watered down quite a lot. Needs to just some windows and things are around indicate there. Building, some separations between some of the buildings. Okay. I'm going to start putting in really lots of dark colors. Right? In the distance. Here. We can see the tops of the rooftops of because in areas and that's to create some maximum contrast. Just a lot of darker color in there. If I can just spray that a touch as well. Notice there's all these little bits and pieces on the building as well. You can see here there's like these tiny little windows and things like that. This is a good time to sort of play around with this and getting indications of this. Opaque paint hasn't dried yet. You've got a good opportunity to just indicate some of this stuff and also the separations on the building like this. You can just kind of indicate what's going on in areas. You don't want to overdo it, but yeah, I find that it just melted nicely and you don't have to work into it much later. You do it this way. Tiny little bits on the buildings. This is just like the windows and stuff like that. That you do have someone the brighter side of the building. So you can just get in a few of those. This simplified down. Okay. Some more darkness here. Where the building, the bottom of the buildings are. Good. Helps to create extra contrast like I was mentioning before. Um, the trick is just to leave some of that previous color in there as well. Can even create a car here like that. Create details. May not actually be there. Good looking into the buildings to find maybe some little windows and things that you could indicate. Indicate on them. It's kind of just picking out areas of darkness and the buildings little separations and windows and just dotting the main quickly without much thought. Keeping keeping it basic. I'm somewhat faithful to the reference photo but not having to overthink everything. What I'm trying to say, it's putting a bit of extra darkness on some areas of the building is like to the left hand side of them basically. Want to overdo it. You separation better. Okay. Working on these cars a bit. A fetus as well. I want to get some colors in. This is some blue, little bit of blue that I've got. It could be this other color as well, which is kind of like a lilac purple color. And just drag some of these through the car like that. I want to get some of that coolness in there. In the background. You might have something similar here just with that one. Just a bit of color in areas of the cars. This could well be some yellow or something near dab of that yellow. If I can scratch out some little highlights and things on the building as well, just little bits and pieces. Windows or something. Some little lines for the structure of the building. Quick ones. Really. This works well while the paper is still wet. Can't do it any other time. Just some scratches out of little bit of scratching out of the color there. Can just scratch out like a top, something like that. This could be building, buildings off in the distance, e.g. okay. It's a little trick. Soften the shadows a bit. Actually went to Colorado to touch will lift off a little bit of it. It was too dark. Touch it up to remove it. Schoolwork on these cars and purple and black together, it makes a great shadow color. I really just to get the darks and so they're just gonna go getting the wheel and hope to blend it in nicely with the rest of the car already starting to come through. Okay. They can add just blending in, creating the shadow underneath the car. Okay. Joining the wheels up. The moment it starts looking like a car, when you want to stop. Stop and let it do its thing, just let it be. Okay. That's looking like a shutter. Good little shadow. Leave that. Let's have a look. More cars here like I just got an indication of it before. But there should be darkness underneath it like that. Need the car. A little bit of a shadow to the left. Also the figures rule. Emphasis on some of them like this as well. I've changed this figure actually just make it look like standing, walking into the scene. That's a little bit easier to do. Okay. Another couple of cars that will need to be just indicated again with this purple. And the shadow underneath the car is the big thing. You see that just that little shadow underneath. This isn't completely dried yet. I'll have to come back to it later. Work on these figures first. And just indicate the legs walking. Some of them walking cross the roads and the more King standing even like that. And the shadow are connecting the figures and the feet on the ground. Patristic touch a detail and beats detail in the car. Getting some colorful figures, matter what color, but I want to just blend it in to make sure that the legs are not just sticking out. And keep it keep it kind of fun. Just a bit more. Let it blend in to the legs. As long as you've got the legs in and they look fairly sharp. It's not going to run. You're gonna get some of this color. You put it above, coming down the page a bit. Okay. I wanna get in get in a bit of a shadow over the ground as well. Maybe here. Here in the foreground because I've not put the one in the back. I actually think it looks better like that. Or I could change it around and just get a smaller looking shadow running through in there. I think I'll just go with the one in the foreground for now. We'll see how we go. I'm picking up some of this purple color. Just going to go in trying to blend it on the shadow of the car as well. That I'll give that a drawing, getting a very soft shadow at the back actually. 37. Manhattan - Final Touches: You're going to mix up a bit of this purple and black and just put in some shadow running in the background like this. It has to come from this building. We need something to indicate that over the top of all this stuff, all these figures and everything like that. It looks a bit, little bit better. And you notice I've left a bit of that yellow in there as well. Okay. See if I can draw it on maybe a softer one here. Of course, we've got a few bits and pieces to add on as well, like these telephone pole, north poles, but these street lamps just see if I can get one in here. Simplified down. You've got them all all over the place really. But I just want to indicate some of them that okay. Another one here, e.g. maybe just not really there, but one in there anyway. You notice near is you get these kind of these little bits like this for these windows, I'm just going to drop in some color from the flat brush. And the flat brush has the shape already of the window. Which makes this quite easy to do. Dilute that purple down a fair bit though. You've even got shot size, it just run across as well. So something like that, even know it was do we have in here something here? Finally, some finishing touches. A little bit of gouache to bring out the highlights. Using small round brush for this. Straight on little bit on the car there to the right. This careful not to overdo it as well. It starts to look artificial. If you add too much on. It'd be the hair or something for the figures. Some of them wash the street lamps. Little touch there as well. Here's a kind of something here on the windscreen, just spread out some of these quarter on the windscreen attention like that. Figure. In the shoulder. Here. In this car. This car, they're kind of guy here just in the darkness. It's amazing just what a little bit of gouache can do at the end of your painting. Bringing out some small details that you didn't even realize were there. So to just use it in areas of the buildings as well, I wouldn't recommend doing it too much. Just in some parts. Soft off that beat on the car looks too harsh. Just picking out just a few more pieces. And I can alien little bits of quash sparkle running through. Also just create this feeling of smokiness with the gouache. Just watering it down and spring it through the background like this. Just in some areas. This will be good. Here. You have that down at the back there. More here. Just a smoky sort of effect. I want to overdo it though. Okay. It's finished. 38. Paris - Drawing: Okay, let's go ahead and start off with the drawing. In this reference photo. I'm actually going to edit it out and change things here and there. I don't really like these bits and pieces of leaves coming in over the top, like so close. So I'm gonna get rid of those. And firstly, just looking around and buildings, looking at how much area we want for the ground as well. And I'm thinking actually we may put in a bit more of that ground area. I'm going to just put it is putting the horizon line or the bottom part of the buildings here. This is really where the bottom of the Eiffel Tower Stotz from the background. Okay, and then we've got some, some of these little, somebody is little marks here just for the perspective. This is the kind of the area of the road. We do have a building running up here like this, just disappearing off over to the back-end there. And there's also these trees, shrubs, larger tree here. I'm just going to indicate that in like that. I'm a bit of detail for that building. Is a van or something here. Just try put sunk indication of it. Just a square or rectangular box shaped like that will do just fine. You can even see the little shadows on the building. Here. There is some kind of a balcony structure like there as well. Okay. Just quickly indicates something like that. That's basically this whole big shadow on the building. On the ground here you've got these little pedestrian walkways, pedestrian marks, but I'm not going to worry too much about that. I want to get this car in the center here. Put it in. This is the windscreen at the back and the bottom part of the car. Windscreen is actually a bit smaller, just like that. And we can get in some of the tail lights of the car there. That's about it. Really, that's about it. I can just work out later. Everything else. There's a man that's kinda just leaning over. Can you see just leaning over? And by asking for directions or something like that, then we can indicate that get the legs coming down like this. Leaning over their heads more front like here actually. Let me get that in. There we go. Better hits, just leaning towards the car, legs like this. Asking a question or something to the person in the car. I will work on a few other cars here in the distance. I'm not going to leave that door open. I mean, it looks like it's opening the scene, but I'm going to change it around a bit. You can also see in the background is more cars and just overlapping of these car like shapes in the, in the background. So putting you in a few of those, this little truck here also a bit of darkness underneath it. Okay. Great. Some more people, It's getting someone just walking across the road like this. There. Someone there. Someone just standing here, perhaps. One here. Like that. Kind of walking across. You can even put a larger figure here in the foreground like this, even just walking in to the scene. Okay. There's also this building here to the right, which I'll get in let's get in indication of it and runs roughly actually more past the center of the scene like here. Okay. I'm going to carry this all the way up and we know it kind of finishes further up, like here near the top of the page. I think that could be a dome or something. I'm just going to Invented, it's hard to see exactly what's there, but I will invent it and maybe it is a dome. And the main thing is that I want to separate this building out and into two big sections. The section on the right and the section to the left. And over here is where there's gonna be a lot of shadows and separations in the buildings. Lots of complicated structures in there, but we don't need to worry too much about all of that. We just want to get an indication of it. Look at that, just that bit of that curvature of that building. And the interesting thing is that we've got here like a really large front part of this, of this cafe or something like this red in there. So I want to emphasize that as much as I can. And you've got bottom, bottom bit like that. That's a little bottom part of the cafe. There's even another part here. I'm going to emphasize this side as well, like that. A, we can just make that come all the way down, sort of run. Here. This is more of a residential building, looks like the left. K coughs. I think it says something about that coughs Castile cafe. You've got people just walking around in there as well and maybe people just sitting down at the table could be like a bar or something that they're just sitting down in the distance here. Let's sit them down or something. Good. Just important to make those figures in the background a little bit smaller. Maybe a few smaller ones here as well in the distance. Hits too big. Kinda get the figures the slant in the direction you want them to walk in. And let's have a look here. We've got some, another tree or something running through the center. There's another one here. Simplify that down. A lot of this stuff. You can't tell exactly what's there. It doesn't quite matter. But this tree, these two trees helped to bring out a bit of the lights on the buildings. Here. We've got the Eiffel Tower, we've got it. And I'm going to do this in quite a loose style. I don't want it to look too kitsch. So if we just getting a little more of a silhouette of it in the background, I think that'll, that'll do the trick rather than something too obvious. I might actually reduce this down and touch. Just giving you this sort of bottom part of the Eiffel Tower like that. This is all just going to be a general silhouette. Mind you don't want it to be too detailed. Ended off roughly here. All the way off in the distance somewhere. It's smaller up the top. Something like that. Let me just fix up the top part of touch. With, with these well-known landmarks. You just have to put in a touch more detail in areas then as it resembles what you're trying to draw in there. There we go. Pretty basic. You can see bottom part of it. Their soldiers just gonna be a silhouette in the background. I like the simplicity of it right now. 39. Paris - Painting: Let's get started with some paint. I am going to pick up a bit of a warmer color. So this is just a touch of yellow ocher. I mean, there's also some other paints here on the paper. The palette, sorry. This is a bit of a yellow. It's like a buff titanium. It's more like an off-white color. But my aim here is just to get in a wash of warm color on the buildings. Might get in a little bit of red in there as well. Just to, just to warm it up, a slight just a touch there. That all the way up to this dome. I think that dome is actually going to be more of a more of a cooler color, but we'll see how that goes. Okay, some more red in here just to maybe get in a little bit of this pinky. Q. Yellow, dropping some more that yellow. And the paint is basically ten per cent paint. The rest of it's just water going around here. All this stuff actually read down the bottom, but I will play with that later. Just want to get in a nice milky colored, warm colored wash through most of this scene. We can even do it there. Let's just do it there for the watch him a call that the plants, shrubs and things as well. But one here to the left, this large building, Let's just get this one in here as well. Just the edge of it. Yeah. And maybe some red again, just mixed in red with a bit of that white. Okay. I'm going to actually try to get in some of the shadows wet into wet. These little bits of cutting around for the figures. Also this truck or whatever the news, any large brush to do this. I'll just pick the largest one that I've got. Now I'm going to move down the page as well. But before I do, I'm just going to spray the top of it a little so that it doesn't dry completely. I want to blend in some color in the top. Okay, I'm thinking a nice vibrant red. I've got some pi will read here that same stuff as before. Makes it a bit of water into it, maybe a bit of orange as well. Orange and red. Really like a more more vibrant, just putting in some orange in there as well, orange and red. To get myself something that's, that's quite vibrant. Good, something like this. But it's still a transparent enough to work with. Okay. So that's the red. I'm good. Like that. Now further down. Further down, I think it's more it's a different color actually. But I'll look, I'll just get it in anyhow so that we've got, now, I'd like this red and I think I want to draw more attention to that. Just make all these shades red. Notice just how strong it is as well. I really want that to show through. I'm going to swap over to a smaller brush to cut around some of these areas around in here, I'm just going to pick up some more of this pinkish color and blend some of this down the page on this. Get a bit of this coming through here that just a softer color running through, maybe a bit of that, white as well, like this. Okay. Some more of this same color, like this off-white color. I'm going to put it into the ground, but also mixing a bit of grayish paint that I've got just a slightly cooler gray paint that's already pre-mixed from, uh, from, uh, the last wash that I did. Another painting. It's just a combination of all the paints I had on the palette before. But yeah, it's just a little darker. Let's drop that in there. Okay, good. I want some more vibrancy, little bit more yellow in there, too. Boring. There we go. Keeping this part really as light as I can. Okay. Don't want it to look a bit gray for the road. Look at that. Just dropping it in. Yeah. Yeah. Yeah. Good. Tiny bit of spraying up that top part. And just start working on just want to spray those buildings a little bit more. I'll start working on a bit of the color in the sky. And I'm going to pick up some cerulean, blue wash of cerulean. I'll just mix that up a bit on the palette. Very light wash of it. Want enough of it for the sky. I've got a bit of this white color here as well, and I can add in a bit of that just to give it some extra body. Okay, and then we got it, we've just got a bit of this kind of milky consistency. Drop that in. Just cerulean blue, bit of white in there. Mostly water, lots of water. Nice big wash of that color. Okay, cut around those trees. Know that the buildings we've got the Eiffel Tower right there as well. I'm gonna get that in later on. I'm also in some areas, I think it would be good if we can add in a touch of color or the trees. Use the fan brush, maybe. This is some green, green purply color, bit of green here in the corner. Green and purple mixed together. We can also mix, grab a little bit of this yellow, creating more of a lighter green. Let's put in some of that. There are lots of water, lots of water. To just mixing with the sky. The fan brush makes it a lot easier to work with as well to just keep things loose and sporadic in areas. Some of this area has not dried yet on the building that's okay. There. At the bottom of these trees, you've got like extra weight, an extra darkness for the trees. So that's what I'm trying to do here. Just getting some of this while also encouraging it to blend, leaving some of the yellow, yellowish colors up the top as well. I don't want it to all turn to this color. There is also another bit of green here, as you can see, just on the side of the building. And this is for the tree here too. So this is just more wet and wet work. We can play around with. It's up to you how much emphasis you want to give these two, don't want to overdo it. Okay. Light wash. You can just drop in a little bit more here and there will be more darkness in, inside. I've just mixed a bit of purple into that, into this green to darken it down a touch. Good. Let's give it a try. Okay, So we've got that first washing. So really the next step here is putting in a lot of the darker colors, the additional contrast for the shadows here on the building, I want to just get more of the light showing also for this side of the building. So I'm thinking I'll just actually do a bit of wet and wet for the shadow on that side of the building and then get the whole right side of the building and shadow as well. Okay, so let's mix up some color. I've got already some purple here, which I'm liking. There's just lots of purples in this mix. And I find with the purple and yellow you get a really beautiful mix of color. I'm going to stick with this, actually. Stick with that purple, maybe touch a brown in there, could do us some good. Okay, Let's have a look. Let's just drop in a bit here and also perhaps spray the top. I don't want it to go over this shade, but they're kind of over the top like that. Okay? And this way I can get in some softer shadows, perhaps here. Okay. Using the same wash. Maybe it's a shadow coming in from that right-hand side or something like that. There will not get a bit on top of this dome as well like this. Coming to the left. Look at that. Just a bit of that shadow moving down. Okay. It's all just creating extra darkness on the left side of the building. This leave out some of this tree so that it's not all completely obliterated. When I can go in here, look at that. But a purple. And as we get down to the shade area, I'm going to go darker, some more purple and get some more of this darker purple in here. Okay, good. I'm going to just use this to cut around this shade here. That there's even this tree, but I'm not going to bother with that. I'm going to go ahead and, um, Ciao, this shade a bit like this, just doing it all in one go. That's the plan anyway. Like this. Okay. To getting the sharpest contrast. I mean, this whole area here is like it's a green and stuff in here as well. It's a green. Just just want to rejig that attach that. It is something in here. Okay, just make that more green. And I'll carry this on this building all the way to the back and it's all wet into wet. As you can see, it's all wet into wet. It's a large shape for the building. I'm good. And you can see how it just goes all across the ground. And you've got also got another flat brush that will be handy. This smaller flat brush. Here I'm going to do is just kinda do a bit of cutting around the cars and underneath as well here to getting extra contrast what's happening? It could be something going on down there, really all there is a little cafe or something just cutting around some of these figures as well. Okay. Two figures. There can be people just at a restaurant or something. Here. Okay. All in one. Wash. Some more green or something in here as well just to get in this tree in the background like that. So I just want to blend, blended in backgrounds and there's another whole so tree here, touch of color. This is going to draw out some of the building to the left. Just a touch of darkness here. That really just, I find more darkness at the base helps to create more contrast for these cars. I want there to be a lot of contrast. I'm using some black even here to cut around the car shapes. Okay. We've got some also little bits of shadow on the building here. I'm gonna get that in. Just a touch of that shadow. Running through that building. Kinda cost by the building to the right. Okay? But letting some of that paper show through is important as well. So that you've got a bit of that background wash in there. Okay. I good. This might also be a good time perhaps to put in some of the details of the awful tower and the backend. I don't want it to look too obvious. I'm going to mix up a kind of a grayish blue color, just a bit of gray and a tiny bit of this cerulean leftover. And I'll see if I can get in some kind of resemblance of it in the background. A little bit darker like that. Now I want it to just possible just blend in with everything else. I'm using this little flat brush as well. To do it. I'm trying to get into the silhouette of it first. It might blend in a bit with the building. That doesn't matter, just let it be. We even got a bit of the bottom part here which is blending into the sum of the tree area in the back. This is actually fantastic. Keeps it looking natural. And coming up. Again, just a beauty. This work like that. Okay. Lighter at the top. Almost what I kinda wanted. Reaching the heart. Okay. That's looking good. When looking very loose. Whoops. Don't want that color a bit more of that. Gray. Yeah. Just a few things you can touch on, like while the paint is still wet. You can imply some darker areas within within it like here, here. Just in some areas here are there. To give it some extra structure. You see what I mean? Just blends in nicely without too much effort. Even the top part of it, like a little tap here and there for something that might be going on. And Destic. I'm continuing to work on this. Let's put in some shadows and things on the ground. Connect it all up nicely. I've got some of this purplish color. I'm actually going to make some more blue in there. Give it, give it more coolness. And getting a shadow and a harp hopefully also try to get it more angled like this. See, I just want to change the angle of the shadow to kinda straight in the reference photo. I'm just outlining where it is. Okay. Like maybe here. Yeah, onwards. Okay. With light color for this shadow, you're just really putting in mostly water, but, um, maybe 20% water and the rest of its paint. Got a bit of this car maybe just caught by it like that and runs all the way through the center of these cars and what have you as well. The figure here, just darkening this whole area down. Just one wash of color, connect it up to that building as well. That's where it kinda shadows cast directly into that building. And here we're looking good so far. Here we go. Shadow. I'm not only that, but you do get other bits and pieces of this shadow from the tree coming to the right. So I'm going to indicate some of these as well. As you can see just a touch of that shadow. You're on the ground. It's sort of, it's just cost and it blends in with the shutter here in front of it. I like how it there's a bit of variation. And we just continue to just move some of these alone. Like that. It looks like it's cost from a tree or something. You can see there's some kind of line work like that. They're there. Okay. I want to put in some more down the bottom, like another now the shadow perhaps blending with everything. So I've just put in a bit more of this color, blue just mixed with some purple watery mix. And look at that. I'm just dropping this straight in to the bottom. Getting a little looser shadow moving towards the left as well. Spray that down to touch. That will spread a little like that. Okay. Things interesting. Bit more darkness here at the base. There we are. I don't want to get rid of all lights. I'll probably just leave that. Now. We can also start scratching out little windows and things if you get a chance to as well, I'd use a little knife to do this. Like here. Perhaps you can just figure out some bits of, bits of areas that you can scratch out to bring some detail. But at the same time, what I'm doing is picking up darker paint and looking at areas where we could potentially put in some windows or something because the paint is still wet here and it's not going to really spread much. So it's a good time to add in some little indications of the floors and details and things in it just blends in nicer without too much, too much of a fast. And the windows don't all line up exactly as per the reference photo, but it doesn't matter at the end of the day, you just got to. Take it and make something out of it so that it comes out unique. I think the main thing was that I wanted two sides of this building, the right side and that left side here. That has a bit more of this sort of the side of it here. Exposed. Okay. A few more bits and pieces running through it. This is great, fun when the paper is still wet, you can play around with it and add whatever you want in there. I'll just blend nicely and take on take on a form. You want to do this while it's all wet as well, so that it's easy to get more of these little impressions rather than, rather than anything too literal. Just dropping some more. These little windows and stuff here as well. Look at that. This building. I will put in some details. That's like a little balcony or something. But there's also the sides of the buildings like this. You can see just sticking out the windows like that. Little bits of detail. Sides of the building too good. Goes off into the background. You can't see too much about what's happening out there. That will be k implies just a bit of light hanging off that building that define a touch of it on the rooftops and stuff you can help as well. Just to indicate bits and pieces, details on the roof. I'll do it on that side too. That just brings it out better. You know, this, this tree as well. Let's emphasize that better. I've lost some of that. That tree, some more green here. Let's use the fan brush for this green. More of that here. Green mix of color. Little bit of yellow, I think would be good. Bit of yellow. White. To break up this. Break this up a touch. Get some lighter green spots on top of the they're just use that to blend some of this as well. Yeah. Peter, something going on. Okay. I'll give this a try. 40. Paris - Final Touches: Time for the finishing touches, I'm going to pick up a dark mix of purple. Also got a bit of black on here too. I'm going to mix that down so that it's quite watery but very dark still, so that I can get some really final dark values in. So let's take a look. I'm going to start probably with this car here. I'm going to just put in a bit of color at the back of it like that. My way down just crosses over onto this shadow here as you can see. The darken this car down a little. And I can put in this indication of the wheels at the base like that and a bit of the shadow running towards the left, just like that. And we got a car. Might just add in another line like that to detail further. But apart from that, really, move that much to it. Okay. Can also put in a smidge of color in the wind screen, just a bit of water. Hey, like this. Smudge that a bit in there. Do the same thing for this car. Down. I'm just using some black here. Lots of water mixed in there. And you can see where it hits the ground like their joins on with the car to the left. Ones in the back as well. They should have just create a user to create these little negatively painted shapes and areas. I don't want to overdo it. So you have to be careful in terms of how much detail you put for these cars. Another one in front. This is the person that was leaning over here as well. I'll put it in the legs of that person just like me, they look just like this. Meaning of talk. The person in the car park and that shadow down a touch. This vehicle again, another darkness at the bottom bit of darkness. And there's more up ahead as well, additional cars and things. This person it's getting the legs of this person, just one here and then maybe another leg going towards the back like that. So this person just looks like they're walking into the scene. Or that shadow here on the ground to like that. Some more people here. Again, just using this same darker color, you can mix up any dark color for this just as long as you've got more strength in it than the previous washes that we've played around with. Trying to do the legs with just one or two brushstrokes if possible. Now you can see into the restaurants as well. And this is where I want to perhaps bring out a touch of extra darkness and in places to further emphasize what's happening back in that section. Okay. Another car in front like that. Just indications, potential detail. Then all these little more shadows as well. Touch color for the figures. Move. This lavender color may be here. And I can put in some, some yellow as well. The top like that to create some more brightness. In this section. And just blend it along to the legs. The legs join onto the torso. You don't have to color them all in as well. It's up to you. Here. I can put in perhaps even some of this blue color or this blue color for this figure, there are a few them. Change it up. A touch can be kind of a yellow color there as well. Doesn't matter. Oops. You've read for the faces. Picking out a touch of this red near is see if I can get in. I'm shadow for the shade as well. Just running across like that. Indicating a bit of this as if the year we've just got some darkness on this side from the from the light source coming from the right. Simple thing like that. Okay. In some more little details as well for the building touch of things here and there. Just a little bit of darker color. E.g. might put in some window is up the top or something like that. Outline the floors. Bit more. Or some of the windows, like the frames of the windows, you could do something like that as well. It's just like your final just tidy up, I guess, of all this stuff. Separators of the floors and things with these buildings. I've put in a few little scratches here as well for the shrubs maybe coming in from the side and around the buildings that can create a negative shape for the side of the buildings. You can see here this just to keep it light and not two. Here I can put in a bit more darkness. The trees, it just adds in a secondary layer. Over the top of the previous shrubs. Maybe some more hues will just another layer. You feather that in like that so that it just looks like some leaves darken the bottom of those shades. I think that would, that's going to make it better. Shadow, more convincing. Just kinda cuts across. Darken down some of these cars and things as well. E.g. this one be a touch of coolness speck there would be good. Yeah. And do it for all of them. Just a few. Some more bit of feathering up here as well for this tree. Would be good. Give it a bit of volume at the base. That's better. Let's see. It's just coming from the h's and you leave that beautiful, warm up the top bidder, those lighter leaves at the top. And you just build detail by doing this quick little brush strokes like that. Kind of what we, like we did down the base here. Similar to that new array. Dry. I've got some white gouache on the flat brush. You can use whatever brush you'd like. I'm just choosing this one. And look at this figure in the foreground. I'm just putting a B to B, the light and the right-hand side, the back. The figure like that. Little bit closer to the foreground. This one here. Okay. Kinda gotta be used this quite sparingly. You don't have too much too much going on in there. Yeah. Look at that car, a little bit of gouache and Chappelet car like that. Okay. You can even bring out cars that aren't actually there like that. You know, these, these little shapes, these little bits of white here, foreground and the background, sorry. It could just be cause piled up in the distance. Easy. Light on the right-hand side of that car. Maybe in this one as well. This figure touch a Guassian the head and right side of the body. So it still looks like he is leaning into that car or touch gouache for that figure. That one that doesn't take much truck here as well. Why not just get rid of that feather in a bit of it on top. Nothing that you can also mix in a touch of gray into the squash. Beautiful black, e.g. whatever you've got left on the palette. And you can create the kind of a grayish color that you can use to bring an extra details like there's like a little ladder here are suddenly you can see it just go up the building and simplify that down, but that's something there. You can go into the buildings as well when adding some extra color. E.g. here, we can just put it in a bit of that to grayish color. It's just finding some highlights. You want to add in. I guess as a finishing touch on that a bit more. There. I do want to potentially add in some smoke, like a fix if I can spray down this area, touch like that and just dropping a bit of squash. Some smoky effect in the distance. Lift off some of this color here. There could be some smoke or something, especially running through the cars. And what have you as well. The more white here as well, just I don't know. It could be exhaust or something from the cars. Just to be just smoke. Help to break up the darkness off in the background. This this really dark color. It will dissipate a bit and start looking more gray as time goes by. I'm kind of lighten lighten it off, but a little bit of that in there. Okay. Maybe I can scratch out a lamppost or something. Some little details. I'm just spraying everything, giving it a fine mist thing. I can do stuff like create these little branches, scratch out these little branches for a potential tree here that's coming in from the side. That they could be even one back here. Oops, kinda tricky to get those in. It's not completely dried yet. But little little bits of detail. Separations, I guess. Okay. I don't know if they just look a bit like tree branches or something. That would be nice. Touch to add in there. I'm finishing touch, just recover some of that paper. This is just a little bit as scratching out to form. Maybe the side of that building create a bit more of an edge. There. Can't do much at the top, but mostly here. Okay. And I'll call that finished. 41. London - Drawing: So think I'll put the bottom of the buildings roughly about here, just going to draw in a little guiding line. Okay? So mainly for these large building in the center to the left of the page. Okay. Roughly about here. On this side you can see there is a car. I just put in the back of it like that. And quick little indication for the side, I'll get data that a bit more later. You can even see another one here. Okay, I just want to make sure I've got it something here in the foreground. We've got a person here as well. We'll just get a bit more detail in for that person later on to maybe put in another figure here and another one closer by. Like that. Just planning in scribbling in and just experimenting around with the composition. I always like to change things out, touch so that we've got a few things going on. And it looks a bit more exciting than the reference photo. So this building can be a little bit tricky. There's a lot of detail on here, and not only there, but also in the background. You can see there's actually more buildings up here to the right. So probably the easiest thing I wanna do is figure out roughly a quarter of the way through the page. Yeah, about a quarter of the way through the page here, you can see that's roughly where all these buildings sort of connect up at the back. These large building here in the foreground. And the building to the right-hand side of it as well. There is little bit of a connecting point there. But I just want to get in these smaller buildings here in the background, just a silhouette of them for now. Here is actually a little bit of a a rectangular like shape, doesn't matter what you put something in like this rectangular shape for that building. And then on top here we've also got another building. It's quite interesting, so at least white domes or whatever, the top. I'll figure that out a little bit later, but I just thought I'd put in a Buddhist scribble there to get it going. There's all these traffic lights in the middle just covering things up, but I'm going to ignore them for the meanwhile, let's have a look at where the building actually comes in from the top now, again, trying to find patterns in here. And the middle point of the scene is here. And I'd say the top of the building is about halfway between the top and here. We can just put in a general mark like that. And this is just the top of the left hand side of buildings of the main dome here is actually a little bit larger and runs roughly, let's say roughly about here. Okay, I'm just putting little vindication of it like that. At the moment, all I'm doing is just trying to get in a quick scribble of where everything is. Alright? Quick scribble where everything is. It doesn't have to be perfect. Okay. This I think is the dome I was just playing around with before. Interesting. Dome. It sort of goes up like a witch's hat, like that. Oops, something like this. I'll refine that a bit more in a moment. But this is just a quick little indication first, and that comes down. Okay, so we wanna get in the whole side of a building like this, right down to the ground. And we can see that it actually goes around the corner. And we've got another bit of sort of coming up like that as well. You're just taking bits and pieces. I'm not trying to copy the entire thing exactly, but I'm taking a little elements of it that I can putting the side of that building. There's a whole lot of stuff going on here. There's so much that's little bits of the rooftop. Okay. You just putting these little squares shapes like that, carrying that down to again, the ground here. And the interesting thing is that we've also got a building in the background behind which is difficult to actually locate. I mean, you can just, we can just make it up. So we have this part here. There's maybe some chimneys or something behind there. Okay. I'm going to use this as a kind of more and more of my advantage. Maybe just darken down that building a bit in the background. We'll see how we go later. Okay, but we can see it actually comes out like that. And ducks behind there. And there's always sort of white, white building. And you can see it all just come down and get a little bit closer to those buildings, to the right. I'm just going to scribble like this First. There is also this kinda looks like a clock tower or something here in the distance. A little indication of that clock tower. And there's a clock here, of course. I might actually detail this a little more. I can get in a bit of the side of it or something like that perhaps. But everything else in the background there is just these buildings connecting up. Okay, It's not difficult to really draw that little silhouette in there. The difficult thing is actually penciling all the little components and bits and pieces. So here in the background I've actually spotted a car and I'm going to move it forwards a little bit and just want to make sure that I've got, I just want to get another car here and the distance really. So this is the back-end of the car. I thought I'll put a we'll want to put a wheel here, put a wheel here and here. And these can just join up underneath like that. That's a car. That's a little car. And not only that, we've got a figure in front of that car like this and just walking across the road. Okay. So a couple of legs there. That's a car in a figure. The light source is something that we need to figure out as well. I know I want that light source running to the right, but I don't want it running at such a sharp angle was kind of to the right and to the back. So I will just change it up a bit like this. So it still goes off on an angle, but isn't so so much of an angle that it goes directly behind, like in the reference photo. I think it's just going to be better if I do it this way. Outline that windscreen and a little more like that. Okay. The car, a lot of this stuff in the car, I'm actually just making up here because the reference is not cutting out a fair bit of it. So there's the wheel, wheel here as well, like a simplified down just going to 3D out this we'll touch to make it a bit thicker. On that end. The right side where there's maybe a bit of a shadow or something. What have we done with the back of this card? Looks a bit all over the place. I'm just going to make it simplified like this. Join on to that. We'll of course, really important. And there we go. We've got that shadow that runs underneath the car to the right hand side, started just shade and adding a bit of a bit of these values while I have the opportunity to do so, the legs of those figures, that figure as well here are actually putting another figure. And I thought I'd put this one in a bit closer. And notice how I'm putting the heads roughly on the same area on the horizon line, just where the buildings touched the ground. Really important as well. Okay. Here is someone just walking in the distance and Lake also towards the back. Maybe this person is walking towards the camera. It's hard to see really, something like that. Okay. Normally I don't really draw feet in there, but why not? I'll just indicate something like this. The ankles and then kind of a pointed foot like that. Like that. Maybe just the foot going up. We'll figure it out as we go along. Here we go another figure. And as we get into the distance, you find that there's not as much detail that you need to emphasize with the figures. I just tried to put their legs a bit further apart like that, make it look like they're walking. There's a bit of movement going on. This figure just sort of moving into the scene. Like I said, this car again, starting to emphasize a bit more of the detail. Okay. Just just some heavier line work, but really not a whole lot of extra stuff going on here. Just putting in like the windows and stuff like that of the car. Like that. It just comes out of the scene. It's really not visible exactly what's there. But I do want to get in that wheel of the car. And of course that back-end of the car like this as well. Okay. Maybe if I get it that wheel on the other side just in underneath the car too. Welcome this. We'll just a little bit more a bit more to the right perhaps, like here. That's better. Okay. Like this. It's kinda difficult to see underneath the car anyway. It's just darkness. Deal with this later with the watercolors. That as long as there's a bit of a shadow underneath the car, you're good to go like that. Simplify that window down a touch as well. That area That's a car. Let's have a look at this car here behind. And so I thought why not just get in the back of it a bit more? Obviously like this. Again, a shadow underneath and the backend of the car windscreen or the cost showing behind like that. Even over here you've got some type of a van okay. That's going off into the distance like that, driving off to the front. So Let's put that in. There is a window to the side of it. You can tell that's a car over in the distance. Few more bits and pieces there which are not, not so concerned about. There is this interesting detail here, trying to figure out the perspective of this whole scene. I'm thinking maybe if I can get into a bit of this sort of thing going on here, these perspective lines just running off over into this area here like that. It's going to look a bit better like this. Okay? So I'm just imagining some lines coming out from that point here. Just drawing a whole bunch of lines connecting up to that point. It starts looking a bit more three-dimensional. At this stage. Simplifies it down. I don't want to get all this stuff on the road. And there's also a you can see here like a traffic light. I'll just put something in here in the front like this to indicate that traffic light. But I don't want it to become a two obvious feature. Just something here on the ground. Traffic island or something like that there. I mean, there's a bit more detail in there. Now, let's start working on some of the background components, some more figures. Let's put in another one, just walking into the scene like that. Maybe just walking in there. But we need to start working out this building, this how many floors is 1234? So we can separate this out. 1234, simple, four floors like that. And of course, the other side, it just goes down and that same sort of way you can see the side of the building like that. Now we can do things like work out the windows. So here we might say there's a couple of windows here, couple of windows here. We're also got a couple of windows here as well. The light, again coming from that left-hand side. Some just indicating those windows very lightly underneath. We've got some more details. There's some kind of like it's a tavern or something. Let's put in the front part of it like that. It's going to be quite dark. And the side of it there, there's a kind of a sign like that for the side of it actually goes all the way down, doesn't matter. Extend that out. Okay. How many more sets of windows are there? Well, we've got another two. Yeah, It's basically another 2.2. 2.2, 2.1. Quite similar. Let's put in, this has got some kind of rooftop here and there, like an inner part or whatever. We can do things like separate them out. So he'll just putting a little line, separate that out. Now we know we've got to put in two other sets. So I'd say we separate this, this one right here into, into two parts. So we've got here in here, basically like that. And we can just do the same thing. There's another window. There's another window here. It looks like that one's sealed up. Another one here, another one here. The most important thing is to make sure that there's a structure to the windows to make sure that they line up so that we don't have a window too far down. You know that they're all lined up on the same row. So now it makes more sense. This here is the bottom part again of this is tavern. There's some kind of thing there is that there are these little column bits and pieces that connect them up at the bottom. I'll just invent, try to invent some here like that. Okay. And they just get a bit smaller maybe off in the distance. Like the bottom part of the buildings. And I'm like that. And you can see some spirits are connected at the bottom, some more bits there. Look at the end of the day, I'm not so concerned about all the little details in there. I just want to make sure that we've got enough enough darkness there under under the buildings. So we've got some of this in, we've got look at these, some of these sides of the buildings. You'll find that there are these little. Windows, you can just see the indication of them on the side. A lot of this is just so dark that it's very difficult to see exactly what is going on in there. Okay, so just a line there should suffice. And here we've got just one more window, one here like that. What else do we have? We've got two more here, so one underneath this part and another one here, like that. There's two more underneath here. And really that's about it. I mean, there's a few other bits and pieces on there. But for the most part we good to go for that. Started the building bottom part of it anyway. Now we're going to just work a bit on the top part of building. I do feel that there's a lack of detail in some areas, so I'm going to just put in some small details like you can see here, these little I don't know. It's like an air the building that just sticks out of the roof. That just a touch of detail there to get in the top part of it. And there's another one here that just, just think of it as like a little box sitting on top of the roof top there. And there are some bits and pieces just running behind there as well, like this. Okay. Good. It's like a almost like a chimney but it's not there. There's also another building coming in from the left, not a huge deal again, this gives you an opportunity to get in some shadows on the right side of the part of the building. Even here you can put it in a little bit of a shadow. Let's just outline that a little bit. More heavy. Heavier. I don't want to lose that later on. K. So let's have a look here. There's another sort of chimney, bunch of chimneys and things here, just simple, simplified, things like that. And then it comes down like that. Then we've got this part here. This is important. This dome has to be somewhat accurate. Okay, so that's the bottom part of the main area of the dome. And then we've got it Just coming up in this interesting fashion like that. You can see these little bits and pieces in there and the top part of the dome here. Like that. Excellent. It's pretty basic for now, but it does the trick. Okay. It looks like a dome. This part here I think I'm gonna have to just refine that, a touch like that. Okay. Almost like a bill. Looks a bit like a bill. Okay. We'll figure that out as we go. Later on. I've got that building out. The background here. I'm probably going to make that darker. This white building as well. There's all kinds of stuff on here, but I want to simplify this down into, again, these little rose on the buildings like this. Just little bits and pieces on there that it's all just going to be dulled down color. Okay? So we have most of the details in here already. Don't want to get in anymore for this clock tower or not. That's the question. We can have it just sticking out the side just as in the reference photo, but something simplified down like this. Cut around that with the blue. Some figures maybe behind, walking off in the distance. All this stuff here again, I'm going to just simplify down, not much to do in that section at all. Just something to keep it looking three-dimensional. Those buildings. Here is a, another sort of building like that as well. Here in the foreground again, what we were talking about was this sort of interesting kind of white dome here. The few beats like that. Okay, Getting the other one as well, because it goes off the scene, It's hard to see it like that. Simplify that down, please. Okay. There we are. So I think what I'll do is just rejig this part of the dome. I've made it too dark. I want there to be enough of it in there, but at the same time, not all of it just be pencil work. Okay. Area. It looks a little better. So let's go ahead and get started with the painting. 42. London - Lights: So first things first what I would do is get in some of the warm colors in this building. I'm gonna be using a small brush. And I see a lot of this burnt sienna in here. So we're using some burnt sienna and also be using this color yellow ocher, dropping some of these nice warmer yellow ocher in there. Like this. Just cut around some of the windows. I might want to get in a hint of blue or something in there maybe reflecting the sky, but don't make it too obvious. Be quick with it. Cut around a little part of the window like that. Some of them if you don't get it, don't worry about it at all. Just just get that color and that's all you need to do. Some more of this yellow ocher. So she up here, there's a bit there. There. You can see just around the back of the buildings as well. Here you've got some yellow ocher and parts of it that stick out of the buildings, the top as well. A lot of this stuff is just gonna be gonna be like pretty much this yellow color with some burnt sienna in there. Maybe a tiny touch of orange or something that might be helpful. Okay. I want this to be pretty light and vibrant. And given that the light is bouncing off this building, quite obviously, I'm just coloring it in like this. And also the rooftops you can see here there's, this requires a touch of color. The easiest part of this is just to, at this point really. And it's also such a crucial point because you are making sure that you're getting in the right backing wash. And if you don't get this in accurately, I find the rest of the scene can often just look a bit out of place, especially the docs and you put the darker colors in later. Okay. The background buildings, I think I'll actually get in. Maybe just thinking whether I should get them in lighter or potentially darker. Yeah. We'll see how we go. We'll see how we go. Might be okay to just put a quick wash of color on that building in the background for now. Just lighter. Lighter though. This is just a lighter version of the yellow. This is all. I've also put it in a little bit of this color called buff titanium, which is a off-white color. So just a touch of that. The background buildings has some something in there, a little bit of color. You can see it all in these white buildings here in the back as well. So just leave a touch of white on those buildings. As we move down on this building here you can see there also. Again, there's the opportunity if you want to just drop in a bit of a warmer color. So this is some this is a little bit of little bit of burnt sienna. Just mixing some of that burnt sienna or up to drop in to parts of the buildings. And this will create a little interesting effect. Okay? This like this, and create a bit of color variation. So it's not all the same old yellow running through there. We've got touch with this brownie color as well. Another quick thing I find is just picking up the spray bottle and giving it a good spirits every now and then, sometimes you might get a bit of water that just runs off and creates a balloon. I think that actually looks quite nice because this building does look a little weathered. So implying some of that is important. So just coming down like this, the bottom part of the building, I think I'll just get in with some yellow ocher again, just because we haven't put in any of the darks yet. So a little touch of little touch of warmth in the background will help. Maybe some of these buff titanium as well just gets rid of the white on the paper and create some little a little bit of color in there. Okay. Here, just bring that down. This building here. Let's put in a touch of brown on the side like that. Brown and yellow mixed together like that. Simplified down. Of course. I will just do the same thing with these other buildings to the right bit of yellowy color. It's really just indicate the white on parts of the buildings. This one, I'm going to leave completely white, more yellow. They're carrying it all the way down to where those figures out where the cars. Start and Stop roughly about there. What I can start doing as well as work a bit on the on the bottom part of the painting. Okay. So let's pick up some grayish color I have like a bit of black leftover from the previous painting. I did have a located just to kind of a grayish color. And we have to make these quite light as well because the ground is pretty light, so I missed the same tone as the buildings. I'm bringing this down. We got small, this gray, smooth that gray mix that in like that. I just want a light wash of gray river, the grounds and create this sense of it's kind of like a cooler gray is sensitive. This youngest of the road, the feeling of the road. Okay. It's like a cooler gray. There's probably some purple in there as well. But mainly it's just all your primary colors mixed together. It's not much at all. I probably should use a larger brush. Just kind of get away with it. Get away with something like this. Good. Okay. Good. And let's work a bit on maybe some of these buildings in here, but I didn't want to just drop in a touch of darkness in there as well, just at the base. Some parts. Yeah. Leave some of these for later, some of the shadows. Okay. But this is just a soft looking maybe like a soft looking shadow while the buildings is still wet. I can add in quickly like that. Be careful with it. Gone too far into the car. But the good thing is I can actually just turn, I might just turn the car, the turquoise color. There we go. Just blend that in. Light, bluish color. Blend that in. There we are, That's better. This car here behind deny or we might put just add some darker blue for that one. Let it mix in this one here. Why not just put in a bit of color as well for just a touch of cooler color like that. And grew adding the shadows and things later on for the sky, I want to put in some nice thick cerulean blue. So I'm just picking this up straight from the palette starting at the top of the scene. Large, broad stroke. I'm going to work my way down the page. And we need lots of water here. I have enough water, I think. Okay, here, here, more water. Just picking this out really quite liberally in dropping that cerulean blue in. Okay, but when we start getting to the buildings, just gotta be more careful. Cut around them. If you get a bit of mixing through the buildings, that's not an issue. Just continue on and do your thing. I do also at time just encourage it to blend together the buildings a touch, but I'll give that a moment first before I do that. Going around here. Larger brush, use this one. Just makes it quicker. Okay? That then I'll use the mop brush. The end bit. Like I said, you notice it's sort of blends a bit as well, but blends in with the previous wash, the blue, but it doesn't matter. Just continue on. As usual. I left that building on the right white same with this little clock tower. Looking pretty good. So far. Let's have a look at what we can do here with the figures. You can leave some of them just white as well. I forgot to get into that color behind this figure, so I'm doing that now. And for the other ones, It's up to you. I mean, you might want to put in some red or something, some warmer color for this one. Like this. And this one here, you could say I'm putting a bit of a warmer color or just a bit of something on the palette. I'm sticking with a bit of a warmer color. This one, maybe some blue, blue here. That kinda running, keep it very light. And that's okay. I'm gonna give this a quick quick little dry. 43. London - Darks: Alright, time to have fun. We're going to put in the darker colors now. And what I'm gonna do is mix up really some cooler colors. I've got ultramarine blue here. I've also got some purple. I've got a bit of black, I've got a bit of brown. Mainly I'm gonna mixing more of the blues in here, the ultramarine blue and the black. Maybe you just change it to purple every now and then. But any cool colors kind of need to down with a bit of black in there. Perfect. Absolutely perfect. Okay, so let's go ahead and start off. And really I want to make sure these mixes about 50 per cent paint, 50% water, so fairly dark, but there's still a sense of transparency in there. We want to make sure that I want to make sure that's clear, make making sure that there's enough transparency there. So I'm going to start off probably around here now this sign or whatever on the side of the building, it needs to be nearly dark. And I'm going to use more black in here, a little bit more black. This is a little flat brush that I'm using, just coming across like that. And around some areas you'll notice I'm just going to cut around. So here I'm just leaving a bit of the yellow in the background. The background color of the yellow cut around some of that. Leave a bit of it to show through and continue on. Okay? And that's the thing people forget about leaving in the previous wash. Got this beautiful yellow there. We want to make sure some of that at least shows through. But more water. Water in here. We can see it just run around the side of the building here and then maybe here as well. Look at that. And again, this part here, I'm just making this up, this little section that runs down. You've got this one here. I'm actually don't have enough space. I want to just create it here actually about here. Okay. Moving this across, we're trying to get it in all the shadows and dark areas in with one basic big washing. The great thing about these flat brushes is that you've got tiny points on them on the edge. And this allows you to get in more details. Okay, So I kind of use this sharp a bit to getting small details while I use the flat bit to get in the sides of the building. These kind of rectangular, longer sides here. You've got things like this window here at the top. Now I can just put in a touch of color there. Okay. Here, there. For that window. On the right-hand side of this building, there's so much going on in here. But I'm going to simplify this down. I'm going to just get in mostly, mostly kind of a purplish wash running into this scene. This we can leave bits of that yellow in as usual, more purple perhaps, that darker purple shadows. I love using purples and blacks and also a bit of this ultramarine blue. The ultramarine gives it a tiny bit more corners. Sometimes I get to go too overboard with the purples. Okay. So drop that in. Remember to cut around and leave some of that previous wash. As you can see, you just in some points letting it take over more water, drops some more in up here. Here. You remember this is just a big shadow on the side of the building. Okay. Here there's some kind of like again, that structure at the top there of the building. Just putting a little indication of that like that. Something there. Another structure here that that they're finding bits to draw out of the building and loud to stick up a bit. These tiny little chimneys or whatever. Okay, using that yellow to create a highlight for potential shape or something in there. The rest of it, as you can see, is just this massive color. And if I can actually spray this down to touch here, so I can get this to run to the left-hand side. I think that will be good. Okay, so that it's softer, transition like that. So nicely sort of transition over to that shadow. And then we've also got things like this dome, which I'm going to indicate, like I mentioned before. Extra darkness up the top here as well. It's really, this is sort of dark section. Hugs that part of the dome there. Okay. Here as well. And a little bit at the top here. Touch of gray color. It's going to make it a bit of white into that black. And just get some of this to merge a touch only slightly. Maybe on the right-hand side of it as well. Like that. There we go. I think I'll leave that for now. We'll keep continuing on with the rest of it though. Here we've got the windows again, more of this darker black color for me to indicate the shadows that you can see on the Windows. Tiny little shadows and you find them mostly. If you look at the buildings, mostly on the top pot then on the right-hand side. Because again, that light source is coming from the left of the scene. Bit more here, here. Here. That alright, good. Just going to darken that pot down and touch underneath the building as well. I do think that some more extra darkness and bits and pieces is gonna be helpful. So cutting around these figures, as you can see, I'm just picking out areas underneath that. I can darken like that. Of course, you've got all these other bits and pieces under there. But simplifying it down. More darkness, small black, perhaps in here as well. Here, it's really just quite dark in that area. Needs more water. I've picked up too much paint in there and it's gone. Gonna be funny. Just mix up a bit more of this paint. Area, pretty dark there in the background and nice crisp background, which forms a nice negative shape for the car. I'm going over parts of it. And at the same time I'm just leaving, leaving bits of the yellowing or for some parts of the building. More here. Again, utilizing this advantage with black to create another negative shape for this figure. There. Especially under here as well. There's so much, there's so much going on in there, but the simplest way is just to get it all in with one wash leaving in a bit of the previous wash. And that will create the illusion of detail. Okay. So we're not done with that building yet. We'll continue working on it. And there's also some lighter, shallow shadows or that I'll put in after this has dried. I'm a bit concerned maybe the shadows on the building and not dark enough on that right-hand side. But this is another thing that we can do it just adding a bit more paint while this is still drying off. Not only that, but there's also this building here in the background that needs also some extra shadows. I'm going to use some more blue here for this building here in the back. Okay, more of a bluish shadow and getting some of the floors and things like that, It's all just merged into one big shape. Lot of this stuff here is just one big shape. That's the back of the van. I will just leave that lit up slightly. Okay. Some more blue. More blue in here. Okay. Maybe cut around this section like that. Okay. Good. Continue on. And this right-hand side here for the buildings as well, we can just putting like a large shadow shape just running across and covering this building. And I'll just cut around, see these figures here as well. And then that is actually more darkness at the base. So I can just put in extra black at the base and then just blend that up a touch like this. Just becomes soft and shadow or whatever. And let me get this one coming up a bit more here as well. This seems like a part of the building, this darker section like that. There. The yellow showing through as well. Just leave that leave a little bit of that yellow showing through here. I can just emphasize again the buildings. This could be a bit of that building here, the shadow of that building here as well. I can get inside of that. Remembering that the light source is coming from the left-hand side, potentially hitting creating a little, little bit of shadow here and then forming hidden the light, the light hitting the side of the building and creating a shadow here on the right-hand side of the buildings. I'm good. Just wanting more blue or something here in this side of the shadows. So while the paper is still wet, I'm trying to just alter that a little bit. And also getting it to merge a touch onto the right-hand side. The building. Here. Be good. I'm okay. Just some more extra detail there. Notice how I'm just getting in this shadow with one big, one large shape. And it makes it so much easier when you do that. I'm decision comes as to what I should do with this large shape and background. I was thinking initially of just getting it darker, but I think we'll leave it as is. And what I'll do is indicate some of the details on the buildings, on that building in the background. Okay. Maybe this could be like a shadow or something like a little bit of darkness there. Blend it down a little bit, just dirty it up a little so that we don't have too much light on the back. And let's have a look. What else do we have? We've got the cars. We've still got these buildings here to the left. I think I'll work on chimney area here. Let me give this a quick dry first. Cerulean blue in for some of these windows, light touch of cerulean, not, Not much. I just want to create a little sense of maybe the sky reflecting in here in the Windows. It's not present in the reference photo, but I just decided I might be a good thing to do. As long as it's a cooler color, you'd be okay. I've actually mixed in a touch of gouache in there. I find that it can help go over and override that yellow a touch. Just a very light wash of that blue there. Okay. So some more detail on the building. I'm gonna go ahead and add in over here just some of the details for the Jimmy. So I'm going to mix in a bit of brown over the purple and getting this darker sort of section like that. And it's getting this side like that. That this could be another section as well here. Underneath their bit of darkness, that shadow there. This actually runs and further like that. Good. This is really to indicate a bit of light bouncing off the edge of that part of the building. Continuing on to the right-hand side. Here, there's a lot of light, but there is on top of these chimneys or whatever, just little indications of bits and pieces. You can actually pick up that brush and start putting in some small details as you can see me doing here. I'll really try to be quiet sparing. When I'm doing this. You can pick up a smaller Round brush as well. Let's makes it less obvious that they just indicating the roof of that building in small little details. Here. There's top of this top of this dome. Kind of simplify that down, but something like that. Okay. That little bit of darkness in here, join up that dome, give it more volumes as well. Separated out from the background. Touch. Suppose just make it come forward. It's more that right-hand side. Good. There's some little details here like on the sides of the buildings like this. I want you to call it this little line running through the floors and really such a light wash here, it's almost, I'm just using some using that brush, picking up bits of that diluted paint, drawing it off. And then going through and adding in these, these very subtle shadows on trying to find something. Let's see, here, we can pick up into this paint. Very, very diluted down. It's probably like ten per cent paint Because it's quite dark. You can still see the shadows fairly, fairly easily. The right-hand side, oops, that's too much too dark, but I'll deal with that. Smoke that up a touch. Still has to look somewhat transparent. There. There. Another thing you can do is put in an indication of a shadow on this side of the building. And you think it's not possible, but actually you can, you can spray down a bit in the page like that and start picking up some of that color, a bit of the blue in there, a bit of that purple. And let's just, let's just get the scene quickly like this. Look how it just blends nicely. Because you've sprayed down that bit of paper. Okay. I think it makes the building look a bit more interesting. Bit on the top as well. Using cotton paper as well, you don't get too much disturbance from this. It won't really lift up the previous layers of paint. So this is nice. It just runs through and does its thing. Okay. Just a soft shadow on the side of that building. Like that. I've had a play around with that section for a while now I'm going to just work on the bottom part of C. Leave the top to dry and do something on its own. Let's have a look here. So these figures and the shadows now, let's work on the car. So again, just bringing up some of these black purple paint, I'm going to put in a touch here for the wheel, Right-hand side of the wheel. Underneath the car like that. Here. There's probably going to be some more darkness on this front side of the car. Like that. Soft enough. Softness off a touch. Then we can get in this kind of shadow shape underneath the car, running towards the back, like this. Okay. That the car I wanted to just make sure I'm leaving enough light back there as well. Awfully close to eliminating it. So here I can just also put in the legs or the figures. So there's a couple of legs. And again, the source, the light source joining that up, running towards the back end of the scene. Work on this one as well. Same deal. Put that leg in like that. The other leg in as well. And again, work on that light running towards the front of the scene like this. Okay, here we got another figure walking around. Same thing goes. Now the figure there and connecting the legs up as usual that you kinda just work across all these figures and at some point connect them all up the van or whatever. I could just put a bit of darkness underneath it. It could be something the car as well. You'll notice there's a bit of darkness underneath these cars. So just emphasize this here. This is like the shadow underneath the car, the wheel Right-hand side of the wheel, and underneath it running towards the side of the scene as well, that we always in more detail on that one and then this one as well. Let me just soft enough these legs here as well so that they blend in with the torso better. Now you can also just get them wearing things. Could be wearing some suit or something. Important, not to get rid of all the light, to keep some of it in there. Very crucial to do that. I've got some figures, we've got some cars here. We would probably want to I'd say anywhere we'd probably want to get in some darkness on this car, There's some windows here, but not only that, because the light's coming in from the left-hand side. We do need to just imply extra light, maybe here on the other side of the car, the right-hand side. And then just blend it out. Blended out of touch here. Okay. Create that sense of light hitting the back end of that car. There. We joined that all on nicely. Shadow on that right-hand side of the car like that. There are some figures back here as well. I just forgot about them. You can just see them off in the distance. So putting an indication of them like that, but apart from that, it's not really much to do there. I'm holding a bag or something like that. Owning a bag, suitcase. Who knows? The way you angle the heads as well. You can make it appear as if the figures are walking in a certain direction. Sort of leaning to the left, like this one walking that way, leaning to the right. Okay. Good. Locking how that shadow of the building is turned out. If I can just work a bit on some of this stuff here on the ground as well. Just a touch of color for this. I don't know what it is. This traffic island or what have you somewhere here. Okay. Simplify that down a touch. And then I can actually put in some kind of traffic pole running up here. Some more black. And where will we start at roughly here. Maybe here. Yep. Okay. Run this upwards. This is up to you. By the way, this is kind of a little bit risky because it's so dark and we know that it's sort of starts, ends about here. Traffic light anyway. There there's not much you need to do it imply it just got to put in a touch of detail for the rectangular bit there, the white. You've got the three bits that poke out like this left-hand side. Let's do the same thing, just this dark section like that. And a few little bits that stick out. And then you go, That's the traffic light for sure. And I've made this really, really dark so that it will stick out the scene and just enlarge it a bit at the base. Make it a bit taller. Okay. Shadow as well. Running to the right. I'll do is just put in a, I want to put in some shadows here on the ground than not. It's just not enough stuff going on in the foreground. There is actually a big shadow in front. So I'll put in something here. This is just a bit of blue and purple mixed together. And softer and softer shadow feathering it in like this. Okay. And I'm using it hopefully to just join up the figures that touch here as well. More black. They're neutral tint in their neutral tint to cool it down a touch. Here. Here we can just move this shadow towards the front a bit. Something just outside of the scene. Casting a shadow and creating a bit more of a contrast, which will make it look more interesting, my opinion, this scene. Okay. It'd be nice and feathering. Feathering it through. I'm good. Good, good, good. Darken more. Yeah. Watch for darkness. Okay. We'll give this a quick dry. 44. London - Final Touches: Finishing touches, I think I'll actually adding an indication of the front side of the wheel here. It looks like there could be a wheel a little bit closer there. And let's have a look. What else could we potentially add in here? I think some of the perspective lines will help. So I'll draw in painting a few that run through the scene. Just like this very light little perspective lines to help guide, guide the viewer through the scene. Once already a bit dark, but it doesn't matter. One more here. Maybe. It looks a little better now. Okay. Do this Clotel. Let's put in, let's put in some hands here cans with a tower that okay, and a touch of the the circle. Okay? Like that. What you're doing here is you're just playing this kind of touch and go thing where you're adding in little details. Okay. But I'm not overemphasizing something like this is already looking decent in terms of that clubhouse, you just want to leave it and maybe you think, okay, it just a little shadow here on the right side. Good. That looks good. So now you just continue on this tower here, this building. There's a couple of little things that we can add in here like this heart. It's mostly just diluted down a bit of darker paint, 20 per cent paint, ten, 80% water. Touch it that there to add on some of his darkness so that the white and the light just comes out this way. You have to do it. Okay. He's a few little windows and things that I can just indicate quickly. I just practicing the air and then do it. Think about it and just continue on one goal. And that's the trick. We start fiddling around with it too much. Just lose the plot. Doesn't look like it anymore. You just picking this up and you're drawing essentially with the brush. Down below, you can see some of these buildings have like windows and things. So you can just touch on in areas, create a little bit of detail back there. And the flat brush makes this really easy. That's why I like using flat brushes for this type of thing for windows because you just need to tap on. That's all. Because essentially that the flat brush shaped a bit kind of squarish anyway. So we need to do here is just put in a few tiny little contrast like this is actually another traffic light there. But I don't really want to get in all the detail for it, but just something going up like that could look like a traffic light. You're figuring out small details and little intricacies in here. Now here as well, look, I can just mouth through and getting a few details in for the sides of this building. This is just pure black. And I am connecting this up a little bit to create extra darkness, but also extra detail in this area. For Windows, because it's actually pretty dark on this, in this building. Harsh looking shadows as well, my juice, so I'm trying to integrate these is difficult. I find we do have a bit of softness there, so this will just Let's join up a bit better. A bit of water here is soft in that soft turn that off. That final, really just the final layer of detail in here. Okay. I can mix it all together. Left-hand side. Over here. They could be a few little bits and pieces to add it. I don't want to overdo it though. So maybe this little rigger brush could be a good middle ground here to indicate in some little details underneath the windows or things like this. Definitely is tricky. I go by that whole adage of less is more in this type of scene as well. Speaking out a few details near the windows. Dry brushing Amman when dry brush, I mean, pick up some of the paint dried on a bit of towel, dry brush and a bit of tau. And then go in and do what I'm doing here. Just feathering in some small details these little separations of the buildings as well. Look, you can even do that. But like I said, I don't paint them all. Lena, leave broken lines and areas and it looks more natural that way. I found it looks more natural that way. Anyhow. Need to soften this part. Touch underneath. There. Just a little bit of softening, I think would look better. Blending as well. More of that shadow. Coming over to the right-hand side. You do a bit here as well, just make it look like the light is joining onto the right-hand side of the building. Very difficult to do, but you're using light paint, just feathering and over-the-top while your brushes pretty dry. Still. That creates creates a little bit, a little bit more of a subtle shadow effect. Okay? Especially in these corner windows. Tricky. But it does join on. Shadow does join onto that right side of the building. So I'm doing my best to lend a bit like that. Then starts looking okay. Use you just want to know when to stop as well? Just for me, it's about keeping keeping consistency throughout the whole painting so that there's not an area of it that's too detailed. Okay. So that other parts of the painting also work. Shadow part is tricky. The trick is also just to make sure you're leaving enough light. Leaving enough light as well for that side of the buildings. Little bit, a little bit of water. Spray this down a touch. Flick a bit of water in there. Why not? Scratching out as well? Just with your fingernail. You scratch out a bit of some highlights or something in here. Scrubbing away the window is a touch to encourage it to blend more onto the building. I can also just scrub away a bit here, perhaps exposing some light as well. A bit of a light. That light in here. Just some water and a little brush. This is a filbert brush. You can use any sort of any sort of flat brush or round brush to do this. I find filbert brushes are just good. They're meant for scrubbing out. Okay. Yeah. I just find that when there's any particular spot that looks maybe too sharp or too contrasty. You don't want that there. This brush works quite well. To remedy that. It's also adding a bit of weathering, weathering effect onto the building. And I'm finding because the building just has some textures on it, I'm not able to haven't been able to capture them previously, but with this filbert brush and just a bit of scrubbing away, it makes it look a little bit more weathered, which I like. We are almost there. Let's put on getting a bit of red for the figures. The heads of the fingers touch of red, light. Red. Maybe with a bit of gouache, pink or something in there. That there we go. I'm here. Okay. Here. I'm just going to use some darker color for the hair figures. It's not necessarily really, I mean, you've got the heads in there, you should be okay. That white gouache. And again, we're just making sure that the light, getting a bit of that light on top of the figure and also on the back of the figure like that just indicates the light source from the left. Here. Okay? Here maybe like that really just brings out some final bits and pieces. And you can do it here for these little hairs, the traffic lights and things as well, as well. Just side of the pole like that, hitting into the ground. And, you know, the trick is again, like I said, you kind of skipping over areas. Like the car could bring out a bit of that light on top of that cost still like this. Okay, Here. Here. These figures here, walking around the distance. That little highlights for the, if you look inside the actual Windows, there's these little frames and he barely tell but just tiny little frames and things for the windows. I'm not gonna do all of them, but you can sort of pick out a couple of them and add some of those details that I think you've got to be quite careful though you don't want it. You don't want it to want to overdo it. Just a bit light here on the left side, like that. Just scrub off the ability stuff so that it's more just want it to be softer. Here. Do this before the sides of the bits underneath the building anyway. Um, a lot of lot of stuff that you can do in here, but you've got to be mindful of not overdoing it. Right? And I'll call this one finished. 45. Melbourne - Drawing: Let's go ahead and get started with this scene. And one of the things that I've noticed straight away and it took a little while for me to actually see that is that the shadows, they are not really consistent. I think this is a photograph where there's two pictures that have been mixed together, edited together. So the shadows of the figures in the front go towards the left and the ones in the back go towards the right. So I think what we're gonna do is just make the shadows are all go towards the right. It looks pretty similar anyway, apart from the ones in the foregrounds, it's not gonna be big deal. Another thing is that the photograph, you can see the buildings on the sides, a bit squashed in. So I'm thinking I might straighten them out of touch as well. Often when you take photographs, the camera lens just distorts the buildings and things on the outer edges. So we're going to need to fix that up. So let's firstly get in this area right at the back. So I'm going to look kind of putting it in about here. And this area rod at the back where the cars are coming down on that slope. Slope from a distance. I'm just going to draw a quick line like that. And it's roughly look, it's hard to say maybe a third of the way into the paper, a little bit less than a third of the way. So just roughly something like that. And you can see there's little lines just sort of running all the way into the backwards. Like this, these kind of see the tram tracks as well. Just running off into the front. As you can see. I'm just trying to make them converge at the same point. That's tricky. Like that, just gives the scene a bit of perspective. I like the figures that are walking here as well. And notice that the heads of these figures also below the horizon line there. And that's because there is a bit of an incline going up the hill. Let's let's leave it as that. Okay. I'm gonna go and get into this building to the left first, and we'll put it, put the side of the building in first. It's just like a rectangle. And I want to mark out roughly where the top of the building is, maybe here, maybe about there. And we've got the side of the building like this, rectangular shape like this. And the top of the building is roughly around the same height as the bottom part of the building. So the tower. That's what I mean. So let's get in the building. It's this box shape, as you can see, going all the way, all the way towards the back of the scene. Like a boxy shape. And one of the things you'll notice is that all these trees, there's so many of these trees running through the scene. It's hard to tell exactly where all the buildings start and finish. But I do certainly see something here. It's like a building that's jutting out the back like this. I'm going to get this one in something like that. And I'm going to just emphasize it a touch. There's also some type of a tower here. It looks like the top of maybe a church tower or something. You can just see peek out from there. It makes it look a bit more interesting. We have to have to get these buildings in. Now. I want to get in these Tower and I'm just going to start indicating where it is. Get it to come up like that. And this side of the tower as well, I'm going to bring this side up. Straighten out the building a little bit too. Okay. You can see it's kind of curve towards the right. And again, that's just an artifact of camera, cameras. So they look at that, You're just getting in that tower. The top part of that tower sort of runs here. This section like that. We want to, we want to make the tower look somewhat like the reference photo. I think this is an important part of this particular scene. And this is the town hall building. So we want to put in a bit of effort there, making sure we've got some of the details in. But again, I'm not entirely fast if it's not super realistic, just as long as it looks like we've got towering, something like that. Okay. The side there. And take much at all to just get in that section a little flag or something on top as well there. And you can actually see the little areas that are broken up here. Here like that. The two parts of the tower, you've got some kind of some type of a window or something there. You've got the clock over here in the center. All bits and pieces on the actual tower. There's another one here on the backend of it like that. Another window that we can just Scribbling like that. The aim here really is just to get a quick indication of all this stuff. I don't want to spend too much time drawing it on in the only reason I I tried to get inaccurately so that we've got a decent reference for the watercolors afterwards. It can be tricky when you don't know where everything lines up. So that's why I really encourage everyone to make sure that you get in a reasonably accurate drawing. But at the same time, don't spend all day doing it. At the bottom of the tower of this building. You've got here the bottom part and you can see it's pretty dark and all the way towards the back there and his cars in the distance. Okay. Just lined up. All kind of parked along the street or something that gets smaller. As we go into the distance. This is going to be nice just to just merge them on kind of like that. You've also got cars that are further up like that on the hill in the distance. I'm also trying to make sure I've got some here in the front. Haven't got a reference for this car, but you all you gotta do is just make sure you've got a bit of this boxy like shape like this and the wheels underneath the car like that and you just join them up and that's a back backside of the car. Like that. You might have another car just running forwards here as well. So I can just put in something like this. Again, the wheels, they're back of the car, like that. There we go. We've got another car and the shadow running towards the right-hand side. I'm going to keep these shadows pretty basic as well. All running in that same almost horizontal direction. As you get towards the front. E of course get more these cars that are just closer down. Okay. Let me just try to get in maybe a side of this car like that. That kind of making it look like they're going up the hill. And until you can barely see them up in the distance, they're really important. This implies this sense of the senses. Incline. I guess there's a car here, but I'm going to actually put in a figure walking in front here. Leg and the other leg running towards the back like this. And I'm doing that just so that I can cut around those cars a bit. I might have another one here as well. Look at that. Just another figure. It's hard to tell where they're walking. This one could just be walking into the scene or or what have you. Most of these people were just walking across and getting in a bit of motion like that and you tip the head, look at how I just tip the heads in the direction that I want them to appear to walk. Ok. Chip the heads in that direction. And one leg forward, one leg back. Like that. Some of them are much more forward as well. It just depends on how fast some of these people are walking. There's another head, this busy sort of scene and k, and you can also put ones in the background. Like that. A few figures here in the background. There. Stop putting in this one here. The leg in the front and the leg here in the back. You so I'm kinda looks like she's moving quite quickly. I don't really like this one. I'm look like half haphazardly walking in whatever direction. So I'll just put that leg in a bit better. Like that. That's more data, more, little bit more intention and how that figure is walking. And I could put in another figure here as well, maybe like a shorter one. Okay. Just walking. Having a bit of a straw, not really. Going too fast and getting that car right behind that figure. That overlapping shape for the wind screen there as well. You might have some people, some figures here just waiting by the side or are just beginning to walk into the scene. Two might just, might even just be standing there happily standing there. These two could be having a bit of a chat. There on the side. Something like that. But we've got people, the sense of this kind of crowd of people walking through. And maybe I'll put a smaller one here. This again could be a child or or who knows, get them to hold hands a bit. It could be a child and a parent walking across the road. Another figure here, the closer to the front of the scene as well. Like that. This creates a sense of depth. It makes it look like things are getting smaller as we move into the background. That's a lot of life going as a lot of figures. And I'm actually tempted to make the, should I make the loop will get the shadow in and definitely get the shadow enormously. Just trying to decide on the direction of the shadows. And also, um, whether I want to put in another figure closer to the front of the scene. Look, I think I'll just leave it as that for the time being. Let's go ahead and put in some of this stuff here. Look with a German coal is kind of building here. There's another building that goes up. It's about as tall as this one here in the foreground, but it's so far back that you can't see it. It's it's quite blurry, bluish color, so I'm just going a bit lighter. A little bit lighter there. We'll get that in with we'll get that in with the with a bit of light paint. Push it further back in the, in the distance. Is actually a tree or something here. This is up to you as well whether you want to put in all these trees. I'm tempted actually to leave a part of that building peeking through here because I think we've got a lot of trees and a lot of stuff going on. I'm tempted to just leave a bit of light peeking through the back there in the midst of all these trees and chaotic looking shapes, arrays that raise that Building a little bit higher. And I'm going to get the edge of it in like this. Just again, trying to get in the sense of decreasing buildings, size of buildings moving towards the back. Some of this stuff. Again, it's not in the reference photo, but I find that it does add to the believability of the scene. Once we're done. This is some type of building here, larger building, and there's the edge of it. This will be good as well to get in the shadows, because the shadows are going to B on the right-hand side of the buildings. So we're going to get a bit of darkness on there. Okay, look more convincing. Let's have a look. There is a smallest building here. Look, it's not a big deal, but I'll just get it in any way like that, running into the background or something. Okay. Good. Alright, so those are the buildings in here. There's so much going on. And of course we've got these trees on the road side as well. Now we just gotta get into this bigger because structures again, just a rectangular shape or Israeli, just a square shape starting all the way up here. Big building and it's because it's so close and bring that down like this. There that's the side of the building. This is going to be the building just pretty much in sunlight. There's, it's all going to be pretty pretty bright in here. There's also some type of I don't know what this is. It looks like some kind of store, something in the front. I don't know. This I know is a station. What I wanna do here is perhaps getting a touch of detail at the base, the kind of mimicking what we've got here on the left-hand side. Maybe there's some stalls or something underneath. Maybe something like there. Okay. I just want to modify that. It's going to look a bit better. I think. We've got more buildings in the background, but let me just get in the edge of that building first. Like this edge of that large building. Whoops, get a better, something like that. There's so much detail on it. And the only thing I wanna do is just getting a quick indication. I'm not interested in all the little windows and how they're structured exactly. What we might work on them as time goes by, but it doesn't matter. We simplify down. You have to do that. Learn to do that. Otherwise, you just going to be overwhelmed with what goes on. The scene. Here in the back-end. Again, you've got some buildings like this and maybe the edge of it there. And I'll just do the same thing that I did on that side and drag out some of these buildings and details in this section. I mean, there's even this building here. Looks like it's got a bit of shade on the right-hand side like that. But the rest of it is just it's just covered behind the trees. No, we don't need we don't need much detail in there at all. Okay. Good. So we've got most things in here now I'm probably the other guiding line that I would want to work on is just this section where we have like a window here, window here, a couple there, couple there. We've got this separator over here as well. We've got sections like running through the scene. It's actually this clock tower. Separators actually come all the way down as you can see here, like that. Then there's just a few down the back as well. Okay. Fantastic. I think we pretty much good to go for this one. 46. Melbourne - Light: Alrighty. So let's get in a bit of colour, bit of warmth in here. And I'm gonna be using this brush, just a little mop brush and some of this yellow ocher. I'm also going to mix a bit of this buff titanium, which is kind of an off-white color in here. Also some of this golden color. And I want to get in some of these golden color because we've got a strong sense of light on this building. And I think a bit of that gold will just help to bring it out. And emphasize that. Here this is again that same wash. These more saturated color, you use some more vibrant yellow. You find that it just automatically draws attention. Sometimes save that part for areas that I want to just emphasize more than others. And for this scene, it's more the light that I want to get in. So just a little bit like gold in here. Why not just pop in a touch of that through here. This, this scene as well. You will notice that there is a lot of browns running through the buildings and the shadows is actually running on the right-hand side of the buildings. But we're not worried about that just yet. It's just that I'm just creating some variations in here. And then we can go in and get the shadows. Afterwards. Let's get in. I want to get into top of this tower as well with a bit of that yellow. Maybe just tidy up the sides a bit as well. Like that. I'm a bit of that yellow. I'm using this, this flat brush because it makes it a bit easier for me to get in details. I'm using some brown, some darker brown. And this bit is actually light brown. I'll have to soften that quickly like that. Drag that out a bit. But the other side is pretty much a little bit darker. So we can just drop in a bit of that, that kind of spread in there and do its thing. The few brushstrokes once it looks alright, let it go and do its thing. Here on top again, same deal. A bit of structure there. Then on the left-hand side, some more yellowy color like that. Okay. Reshape this a touch as well. There we go. Looks pretty good. Let's continue on with the rest of this down here. More of this yellowy color. It's not it's not a specific yellow, but it is definitely a desaturated yellow. And you've got the cars here. So this is what I'm doing, just cutting over the top of the cars and don't worry about the trees as well. Because one thing you find is that it's very easy to mix green, but it's very hard to get rid of it if you accidentally get it into the yellow, a bit of a yellow in there. And because we know this whole area is going to be green anyway, no big deal. Okay. All these buildings, I want a degree of warmth in here. And then for the ones in the background, I'm going to soften down at in a cool down, sorry, and add some more blue in there. But all of these ones in the foreground look at that. I'm just kinda coding them. Yellowy colors, lot yellowy colors. The ones on the left, as you can see, it's a lot more vibrant. I wanted to draw attention to that one. This one's just needs to be in here, but I don't want too much going on. Okay. Maybe a little bit of golden, they're tiny bit of gold on that side. Okay? And count across like this, all these trees and stuff here. Again, we'll get a teeny bit of green in just a little bit of green and yellow mixed together. I'm going to just mix up a real light green to getting I don't want too much in here, just an indication of it. This is kinda just going to blend into the sky. We don't want anything. Don't want anything. Too obvious. And year. In fact, the trees are a kind of quiet light. Reflecting off a bit of white as well. So I don't want to get rid of all that. And that beautiful wash, soft wash. Some of the buildings here in the background. We want to get in again with some bluish color. I'm going to pick myself up a bit of ultramarine blue and mix it down with a touch of purple and a bit of black. And let's just work on this here. That's too dark. It needs to be more like five per cent water. Five per cent paint, sorry. In that section. Perhaps more cooler, more blue in there. Okay. Just get that in like that. And you can see even to that right side, you can get in a bit of that blue there. Some of it's going to spread through. No big deal. Okay. Just as long as it's pretty light, the sky does need to be lighter than this building. These buildings in the background though, because the sky is the lightest part of the scene. So make sure there's enough strength in there. So that when you get in this rule in blue rod at the end, it's not going to look funny. So this is all gonna do its thing. I'm going to quickly go into the foreground, pick up some yellow, bring this down. Look at the, look at the figures and everything cut around those figures. I'm going to use just some yellow ocher. A bit of yellow ocher. Getting this beautiful light running through the back of the scene. We could just weaves through everything nicely like that. And as we get closer to the front of the scene, maybe a bit of gray mixed in here, which is just got a bit of darker black that I've picked up in, mixed in with that yellow little bit of that gray. Alright. This mostly just water. Remember that just water? Because you don't want to get in any darker areas right now. While we're still trying to figure out the shadows. And that's best left for later. Okay. So look at that just to, just to touch of darkness here in the front to give it some strength at the foreground. But apart from that, that's all good in the foreground. Let's go into the sky. I'm going to pick up some cerulean blue and drop that in. Remember, this has to be really lot. This has to be the largest part of the entire painting. So maybe just still use these bigger brush, bigger brush here. This just makes it easier so that I can get this all in one quick go. Okay. Just drop it in there like that. Okay, light, the lightest wash is almost maybe one to 5% cerulean painting there k. As you get around the buildings, you might want to use a smaller brush to cut around bits and pieces. I'm getting as much as I can and then I'll switch over to small round brush that. We do just blend that in at around the buildings. They're here. That side of the building. I always like to get in the the, the yellow is first because It's so easy to mix this mix green in here if you're not careful. There we have it. We've got some of the sky. We've got all the sky. The only thing I might want to just change up is adding some clouds and some slightly darker clouds. I'm going to mix a little purple and just dropping a touch of purple in some areas to get in. Maybe your clouds and irregular clouds shapes or something at the top. Join that on that soft clouds shapes. This is just the little purple. Okay. To just make it more interesting up there. So just a quick thing like that. Further down the page you'll notice there's also, you can also get in smaller clouds, just a bit of a bit of ruffling the paper like that. You always want to make the clouds further down softer and smaller as well. The clouds at the top, you want to go a bit darker. That's a pretty large cloud shape up there. I think I'm going to leave it as that. Okay. And while we're here, let's put in some colors for the figures and perhaps some blue for this one. Let's see what else can we do? We can get in a bit of pink or something for this one. Some of them you can just even leave the color, the color of the clothes or sorry, the white on there as well. Don't have to color them all in. Okay. I'll leave that one white and maybe these two. And let's give this a quick dry. 47. Melbourne - Darks: Okay, time for the fun part. We're going to get in all the shadows. So the first thing I want to start off with is the building to the left, the shadows here. It's just a personal choice. Okay, and I'm mixing up some purple and a bit of black. And we want to make sure this mix is about 50% paint and 50 per cent water. If anything, kind of orient towards the site of water, 60% water, even the shadows on the building. A pretty much probably a little lighter than the ones here on the ground. And K because the sun is still catching it. So I'm going to test this out. Let's start off the top here. And it's an opportunity as well to kind of get in some of the details. So here we've got the top of the top of it. That look, you've got a bit of shadow here. Yeah. I'm just a bit of this touch and go technique that I'm using. And at the same time detailing, creating a bit of these dark bits. So even in here, you'll notice there's actually quite a bit of darkness inside, inside the clock itself like here. I'm going to cut around the yellow like that. This is, again, just this beautiful purplish color. You are leaving parts of it as well. Okay. Look at the bit of the yellow that I can leave on. In areas. Mainly, I think you've got more darkness on the right-hand side of the building. But take your time with this. Go around and cut around those clock faces. It's definitely a bit of darkness in here, but it's not overpowering. And remember to leave parts of that yellow, I keep saying that, but it's definitely something I always used to forget to do. Look at that more bit of darkness in there. You can get in some of the details of the structure, the architecture in there as well as you can see just these kind of bits run down the building and connect up like this. And you do this all at the same time. This is actually a bit of a shadow that just runs like that, like that. And then you've got like we saw the darkness on the right-hand side. Just melts together. That is put in here. Here. That, um, and like I said, it's what you leave out that makes a big difference. Leaving out the yellows in areas helped to create extra extra contrast in there. And also fuel. If you want to drop in some more paint at some stages like here, just go ahead and do that. Okay. Let it that it makes in and do its thing. Okay. A couple couple of coming down lines coming down like that. That right-hand side of the building in a bit of light running through it. Okay. Let's move further down the page. Over here, you've got again bit of darkness there. At the base like this as well, just painting in some dark areas underneath. And it's actually a little bit darker under here as well. But I'm mostly just using the same paint. Okay. I can also just getting a touch of color for the windows or whatever in here. A little indication of this like that. This is really dark paint. And I'll go through and just getting this sort of shadow like that. And hopefully there's some of this will mix in as well. Like this. Little bit of mixing with that shadow. Move down the page. That, oops, there's actually some more windows down the bottom but miss them out and we can do them later. That's alright. Just wanted to create some softer looking windows. Different shapes running through here, here like that. So have a look. It's in there that the whole right-hand side of the building on just getting with this darkness here. Bit more of the purple and a bit of the black as well, running through that area, you'd have brown as well. Perhaps. I think I should put some more ultramarine or I really want to darken this down, make it more, much more cooler. And you notice as well, the, the trees here are also kind of sunlight. They've got a little bit of sunlight on them. And my goal here is just to cut around them a little bit and getting the shadows of the buildings and things off in the background. We can get in this one here like that. This sharpness of that building, another one here. Even in the background, look at that just a little wash of blue or cooler paint to get in a touch of that shadow on the right-hand side of the building so that it makes sense. Okay. To dark fact, you probably want to go lighter for these ones in the background. And you can already see the light source start to come through from that left-hand side, the scene. Bit more here underneath the building as well. I'm going to go pretty dark. I'm just going to go darker, black in here. That this is to get in really the most strongest contrast. In here. It's mostly just a black cutting around the figures as well in there. Leave a touch of it in areas just to indicate some details in there. May have to be dark and again later, but see how we go. Dropping a bit of paint there. At this stage, all we're doing is just getting in the obvious kind of shadows on the buildings, the mid tones and also working further down the scene. But this building here as well. I think one of the things we need to do is make sure we've got some some kind of shadow is running down the side of it like this, indicating the floors or whatever. It can't be completely yellow in this way. And underneath, again, the buildings you will notice, look at that just a touch of darkness to bring out this sort of contrast and the bottom part of the buildings like that. Okay. This stuff here and just want to spray down and little encourage it and maybe to blend. Getting these, I don't know, these little trees apps here. I like how it's sort of bloomed a bit over on this side. Spraying a bit of color through there. Like that. It's even doing it on the side of the buildings. They're a little bit as well. So that is looking decent. Just soften part of this. On the buildings. If it's just it looks too too much of a harsh line running through there. I'm good. Good. Now, let's work a bit on the figures and the cars. Darker paint, I'm going to use some purple and black just mixed up. And let's go into this figure here, the legs like that, like that. And you've even got these two because here in the foreground, look, I can just put in some legs of the V, two figures standing by the side there, that bit of darkness. This one here, just kind of walking into the scene. This one here as well. If you can do it in one go. That's the, that's the trick really. You can just get the legs in, in one go. I like that. Again, indicating the motion of the legs. And by putting one obviously in front and one in the back. This one, this figure just looks like they're just standing in one spot. So we can get that in quite quickly like that. Not only that, but these cars here as well. More little bit of purple and a bit of black. And here I'm going to just put in some little something underneath the cars that getting them to line up a bit on the ground. There. They're like that. Just get that 1 mol. Like here. There we go. That's better. You want to leave a little bit of light underneath the car, the golden light that we've created. And the direction of the shadow is running towards the right-hand side as well. Okay. I'm the cars in the back. Kind of tricky to do at the moment because that is being sprayed down a touch. So I'm not gonna, I'm not gonna go into that section just yet. What we can do is the figures here. So look at that. Just a little touch of color, joining the legs together like that. This one here joining the legs here. Shadow coming directly from above to the left, from the left and above. That just joining on the leg to the shadow here as well. Look at that just really running towards the right-hand side. Whoops, these ones as well. Everything has to match and make sense. In this scene. It can't just be conscious, be shadows running in opposite directions. So this is a bit of the wind screen I thought I'd put in there. This one is well, they're a little bit of darkness here for the bottom of the car. Perhaps like getting some indication of the tail light or something like that. Just darken it down a bit. Okay, Good. Let it just sort of blend nicely together. That black we'll kind of go up into the car. Let's get some bit of red and white in for the faces or whatever color. You'd like. Just some something in there like this. The heads of the figures. Okay. The arms maybe here as well. You can get some arms in the side. That simplify down, of course. Okay. There we go. It looks like this and people, I can put in some like bit more on the legs as well. Some of them could be wearing shorts or something like that. Just get a bit more warmer tone in there. Maybe it's summertime for the foreground as well. I want to go over the top of this area with a shadow shape running to the right-hand side of the scene. So let's give this a quick dry first. 48. Melbourne - Final Touches: So one of the things I want to do is to get in this softer shadow that's running through on the ground. I'm going to start off in the top part of my palette and mix up a bit of blue and purple, bit of ultramarine blue and purple, also a bit of black. But if I can get more ultramarine there, I think better just to water that down a fair bit. Let me just have a play around with this shadow. Now, I can get that coming in like this. Some more, little bit more neutral tint and now are black. It's probably a mixture of 50 per cent paint, 50 per cent water, not much in there at all, coming in like that. And I can see still cutting around the figures, this transparency of this wash. And I'm going around these figures and getting in some kind of wash in the background. It's like a middle tone really comes through the legs of these figures even. And even goes over the top of some of these figures. I'm using this small brush because it makes it a bit easier to cut around the figures and everything that's going on in here. Now I've got that tricky bit out of the way. Pick up the larger flat brush, and let's do something here. Okay? Now, of course there's bits and pieces where the light just peaks through an area. So just let it skipping parts. It's just the largest sort of shadow shape running through here. Good. I think that looks pretty good for the shadow in the foreground. I like to put in a bit of extra darkness right at the front though, just a little slight gradient like this. Okay. While this is all drawing, I'm going to work on these cars and things in the background. A bit of darker paint as usual. And I'm going to go straight in with the backs of the cars that we were thinking of putting in before. Okay. Just bring that down to the ground. More of that boxy shape of the cars. They don't need to be too dark because they're off in the distance. Just a little lighter than the ones in the front. But still there, of course. The wheels just joined the wheels up. Oops. This underneath the cars there. And of course they the shadows that sort of run to the right hand side of them as well. Like that. Looking good. Let's work on the buildings now. I'm going to work on just getting in some details. Really the darkest parts of the scene and touch and go. Okay, this policy of touching CO, is like the most important thing because it can be easy to over detail or just getting too much stuff in here and suddenly it just looks messy. That's a window like that. Window here. Just one brush stroke. One here, one here maybe. Okay. You know, you've got a bit of this separator like that. Just bring the bottom part out and touch. Okay. Then these little windows that we had put in before putting a couple more here, the side, this clock tower. Let's just do it. Something like that. This one as well. Okay. The little bits of the building here as well. You're going to have touches of windows and things on the side of this building. So just getting a little indication of that in like this, Some more minute line work to just bring out the structure of all this stuff. So easy to just overdo it. At this point. It'll buildings and things here. Maybe peeking through the trees. And also on the, on the buildings in the background. Some little indications of the, you know, it could be the floors or it could be like these broken lines at points really help. You can see them in some areas that just quick little dots to indicate like a Windows or something off in the distance. Okay. It doesn't have to match just quick things like this. And they help to create a little bit of detail on the back there. Make it look more interesting. Even in these buildings here in the foreground. These could do with a few bits and pieces, like windows and things. Just indications of Windows here as well. Look at all these stuff. Windows and k. Still pretty light color. I'm using mostly light mixture of purple for these windows. Okay. So we can get them in quickly. Good. Bit more of this. I just want to get into a bit more darkness within the background. In some parts like here. You see like the bottom parts of these buildings and areas, they just looked darker. This is a kind of a bus station or something. Here. Let's just bring some of these darker paint in as well around these two figures like that. Just tidy this up a touch as well. It's really just a lot of darkness in the background that's kind of just permeates through and creates sharp outlines for the tops of these cars. So I'm trying to get a bit of that in. Okay. What I'll do actually use some gouache to get in some of these bits of the trees and extra foliage and things like that later. This will do for now just a quick indication of it like that. But I do want to get some more in on that section. Getting a bit of shadow or something for the figures, some of the figures anyway, the right-hand side of the figures to create more dimensionality and get that sense of light and shadow happening as well. So what I've done is I've just squeezed out a little bit of white gouache here. And I'm going to use that to bring out some final highlights and bits and pieces on the scene. Again, I'm going to use a small flat brush for this. Okay, just mix a bit of this up. And what I'm gonna do is also mixing a tiny bit of yellow, little bit vibrant yellow. And this way I can get in just some color back onto the buildings, a bit of a lighter color, lighter yellow on to some of the areas of this building. So here's an example. I can just perhaps dropping a bit like this. Oops, versus just dry off that brush a little. Look at that. And I can get in this bit of light that's coming through from the left side of the scene. A bit more here. Like that. Just in some areas of the windows as well. That especially on the left-hand side of this tower, I do feel that we've missed out on some of those highlights. So a touch of this yellowish squash does help bring back a, an element of that light that we want. Just drawing with the brush to get some of these little highlights. These little highlights to come back. That here this seems to be some little bit more of light around the base as well here. So we can bring some of these back. Kay? Is that like poles on here? Get a couple of them to run up there like this. More. So on the left-hand side, you've got the left hand side of the building. You've got all that sort of bit of gouache highlight and things like that. But maybe here as well, you might get a bit sort of peeking through that building there, on the top of that, here, on top of the cars as well. A bit of light, bit of golden light just peeking through in areas. Also the figures. Bit of that golden light on the back of the figures, the back of the head as well as they walk, walk through this scene. Here. Can even just use almost complete white. Not a big deal. I want to just double down this color a little bit and get some something into the right-hand side of the building as well. Just some touches of paint. Little highlights in areas. I want to spray this area down a little bit just to touch, soften up that bit of gouache. There. Get it to maybe spread a touch. They're like to the right here. Just some bits of highlights. Again, i'm, I'm going to mix this squash with a bit of green in getting some little indications of these trees running through here. It's just a bit of green and a bit of white gouache. Maybe some yellow. I can mix in a bit of yellow with that green to keep it, get it more vibrant like this. Okay, so I can just feather in some nice, I'm truly tree shapes in here. But here. Spray this a bit down as well so that it blends better. Okay. Some of it coming down underneath there as well would be good. Blending a bit onto the building. It obscures detail, which means I don't need to do much less section. Maybe a bit more here as well. Like that. Have you see if I can scratch out a tree trunk or something in here? Something like that. I'll I'll actually getting going there with some darker paint as well. But this is just to get in perhaps some little branches and things. And you're gonna get just going to wait and wait for the paint to partially dry. And then you can go in and do this sort of thing. You kind of just waiting to, it's just damp. You able to scratch off a bit of this to create these branch like effects actually around here is pretty good near the black further down here. That looks quite nice. I'll pick up a little bit of darker paint and put in some small branches like indications of them anyway. Just coming through all these green, the right-hand side of the bits, a scratching out work. You can just imply some of these darker branches. And also as they go towards the sky, you can do this sort of thing as well. Okay. Let me get in a little bit of these perspective lines on the ground and just pick up some of this bluish purplish paint. And the they start off right in the back there. Come through the scene like this. Look at that. Just maybe another one coming in here. That even the touching gouache might help as well. Seeing is yeah, there's just a lot of darkness here in the ground. Just keeps, gives it a bit of depth. Makes it feel more three-dimensional. Maybe one coming around here as well. Okay. Just a bit of these tram line line thing I was moving through the scene. I'm gonna just getting a bit of this running down through the scene like that. They've quite unique to Melbourne. Sort of join up. And they just go through the scene all the way into the back. Help to create this sense of depth as well. Perhaps I'll get one up here as well, just closer to the top of the scene like that. And we're finished. 49. Venice - Drawing: Okay, let's get started on the drawing. And I want to always start off with the part I think is the easiest and that's the separation between the scandal land. I'm going to put that in about here. It's not in the middle. It's kind of just below the center point estimate where it is roughly about here. And this is where all the buildings in the background start. Okay. So I'm just going to get a rough indication of where that is. Who's made a bit of a mess on this line? Let me just redo that one quickly. Sometimes I'll just draw it in segments like that. There we go. We've got certainly all the buildings off in the background. This one here, I'm just going to separate out. This is the palace, I think on the left-hand side. And right in the center of the scene, we have this pillar. And it goes up roughly to about the mid section here. So between the, the separation between the sky, this line here and the land, they're finished. This is just about here. So I'm just going to get in a indication of that. Like this is quite thin from this view, something like that. And it comes up actually like this. And you have on top here. I'm putting that in Monument. Indication of it come down like this. There we are. Okay. Something like that. Going up. The rest of it just sort of coming down. Over on this right-hand side. I'm gonna do the same thing, just a quick structure similar to the other side like that. I can just bring that down like this. Okay. I'll just get this figure standing on top here like that. And that should be good. And also the buildings here on the right-hand side. So they come in roughly about here, near the top of that tower and then dropped down. Here. There's also some statues and bits on top indicate like that. And of course these pillars and things just running down. This is going to be done quite quickly afterwards. I don't want there to be too much going on in this section, something like that. And same here for the palace. I want to separate this out into the roughly like three floors. The bottom floors, little bit tricky, you've got these arch. But again, I'm just going to try to simplify this down. That a lot of this is just going to be a silhouette. You can see them all join up. Just honestly like this, like that. And just get them to run down like this. These little pillars that run down there. Okay? Lots of complexity up here, but roughly just putting in some of these bits like this. And you've also got pill is just these running down. And this is just gonna be important because we were gonna get the light coming through in the back section. Okay. But you can see on top here these also these little Areas up the top, join up pillars. And here we get near the top. Couple of windows here and one here. Okay, good. And the buildings in the background. These can be a little bit tricky. There's a lot going on here and so I'm just going to simplify it down. You can see here actually the base of the buildings. Okay. You good. Um, and we have the tower that runs up roughly finishes about here. So just get it in. It's just like a rectangular shape. Okay? It's just a rectangular shape stretching up towards the sky. And the top of it, they're just getting a few bits. Something like that. Okay. Some windows as well. This okay, there we go. Something off in the distance. The rest of this stuff here is, it doesn't mean it's not so important. But it is good to getting a little indication of all these. Anyway. You can see e.g. here, this is like the side of this larger building that just runs up. Here. There. It's kinda hidden behind the hidden behind like that. There's a door here. It just comes down like this. Something like that. You can sort of see it there in the background, but it's not obvious. There is some kind of something here in the foreground. So just put that in like that little house, little ticket booth or something there. And the right-hand side, just some more of the rooftops. Now here's another rooftop that Here it's kinda like a larger one that just stretches all over to the right-hand side like this. Then you might have another one just coming over cross here as well. And like this. Okay. The rest of it, we can just sort out as we go through with the painting. Now, I like these figures and, um, I wanna get some of these figures in, but before we do, let's get into some of these lamps. Now. Let's simplify it down. There's one roughly here. The base of it like that sort of increase, decreases in size as you go up. Like a simplified down. And you've got it Just coming up. Here. There's one lamp like this. One lamp up the top here, the one to the right, there's a couple of actually there's just overlapping with each other. Like that. We can sort this out, get it in a bit more detailed afterwards. Want to get a bit of shadow running down the page, a little bit of Your tiny bit of shadow just running down afterwards. But you can also see there's a few more here in the background like this one here. I can just put in some quick indications of of it here as well. And they just sort of going into the distance like that. I wonder whether I should put a bigger one in. Thinking. Could do so. See what we can do maybe. Could we get one in here? I mean, it's not really in the reference photo, but I do feel like it because we don't have much there in the foreground. Something something larger would help me just drag this down until the foreground roughly where I want it to be. Maybe here. Here we are. Lamp. So we've got a few lamps are leading into the scene. Let's put in some figures. So there's a guy here just sort of standing about. And he's not doing much. It's just really just standing standing right here. And this one, this person here, it looks like he's just pushing a trolley or something. So we can get his arms in slightly behind this thing here is body, but in front of it, he's got this kind of thing here. And you can see there's a couple of wheels there, so I'm going to just put some okay. He's got his arm coming around the back like that. Can be his leg here in the back. You just load this a touchdown like here. It looks like he's pushing a trolley into the scene or something like that. It's a little big. As matter. Here we've got another figure. I might just reduce the size of this one. Actually, this guy is just looking a bit too large compared to the other figures. Here's another figure going in, walking into the scene back to the left like that. Some shorts like that. Now the couple here, to just be walking again into the scene. This guy is wearing some kind of hat area, another figure. You're just telling a story and giving it some life. Because there's so much going on in the background. I think you just have to pick out a few that you like, few figures that you like. And up for me, I just sort of make up the ones in the background because they don't require much too much effort. Smaller the distance. Maybe some real little ones off in the distance like this. Really small ones help create a sense of scale. Legs almost just become one line. I don't need to even add much in there. Figure in the foreground. Maybe you get a child here just walking as well. Family maybe. Okay. All right. I think that's good for the drawing. Let's go ahead and get started with painting. 50. Venice - Light: So what I wanna do, I want to start off with a darker wash in the sky and up the top and then blend it down, I think, to more of a golden color, just indicate a bit of a sunset scenario. But the first thing I'll do, those thing I'll do is just getting a little bit of color for all of these, all of these buildings. So this wash is going to be quite interesting because we just want to get in the soft colors. I'm going to spray down the paper just completely with water. Even the ground. I'm going to spray bit of water in here as well. Might seem like a lot of water. But I do want all this to this wash to really blend through. Nice soft wash. It's getting at the base. The yellow. I'm going to use the current acridine, yellow plus a little bit of red, tiny bit of red and quinacridone yellow. Just wanted to get a nice golden color with hints of red in there, pink in there. Keeping this pretty light as well. Let me just test this out. And I'm with the buildings, they're going to follow the same color as well. Really quiet paper is really wet. Look at that. Going through and not really bothering with the Anything else as well. I'm just gonna go over the top of everything. Bit more golden color. You can also get semi known the buildings and the bits and pieces like this. Especially this one here, maybe a bit more gold like that. Okay, I want this to be fairly wet. I'm using a large mop brush, watercolor brush. Okay. Let's bring this up. As we go up. I'm going to tilt the paper a little bit. And adding some of this kind of a mix of me, I'm going to pick up some purple, little bit of purple and a bit of ultramarine blue. Spirulina blue, sorry, cerulean blue and purple. Let's just drop that in and see how that looks. That's looking decent. Just want to test that color will actually bring this little bit of that up, this color. As I tip the tip the painting upwards, you see that the everything just runs further up. That's what I want. Okay. Maybe some of these blue, little bit more ultramarine blue in there to darken it down. Okay. I'm just trying to be careful and potentially cut around some of this stuff as well. Like I don't want too much of that purple in there. I've already got it into the tower unfortunately, but we can avoid most of that. I got darker, little bit darker up the top. And this kind of creates this sunset like effect. Slight gradient. Just blend a bit more of this downwards. This should flow down the page anyhow. Hey, I want a nice even wash through this through this whole area. Bit more at the top. There's a lot of water in this mix. This first wash is really important because it establishes. The soft, softness of this scene. The lightest tones that we have in here. In here. Some more at the top, a little bit more darkness of the purple up the top. Little bit of blue as well. And it just melts in. We got to this graded wash. The paper as well at the moment is just on a slight slant, which makes it easy to work with. Now the bottom of the paper is probably, it's probably dried, so I'm going to just spray it down a touch bottom of the paper. I'm gonna do. I'm gonna get in the opposite effect. So I'm going to start off with the yellow and warm colors at the base. Okay. Is it that warmth at the base? More red? Hey, there. I'm not going to bother with the figures. I'm just going to go over the top of them to get to make sure I've got a nice washing here. Good. And as we move down the page, I'm going to feather in some some of that purply color. Purply blue color as well. Yeah. What a soft fuel like that the paper is warping a fair bit. When you use a lot of water, that's just what happens. You can see quite easily the color blends nicely like that. But at the same time I want to leave in enough of that light further up. And that's more of an exaggeration of the reference photo. I'm going to actually go in, in that area a little bit with some with some darker color. Afterwards. The paper's still wet. This is really the best time to do this sort of stuff. Getting some nice soft transitions between the colors. Especially in the base where I just want it to blend a bit better. Create a bit of darkness down the base. Okay. 51. Venice - Darks: Because it's completely dried. Now, what we're going to do is getting all the shadows for the entire scene. So basically, you can see the darkness here in the foreground. There's a bit of light just peeking through in the back area. But apart from that, it's pretty soft. So I might get in a soft blend out in the backwards, back, in the back, and then also down here, the right-hand side of the buildings have a bit of shadow and things like that on them, which I want to get in. Same with the silhouette of this building here to the left. So let's go ahead and get started. I'm going to pick up a little flat brush. I'm gonna start with some purple going to mix up a bit of purple. And what else do we have? We've got we've got some black as well, bit of purple, but a black here, just make sure I've got enough water in there. Touch a brown maybe as well. A bit of ultramarine blue in there as well. Okay. Nice mixture of cool color, suppose is what you could call it, just generally cooler color. And it's about 50 per cent paint, 50 per cent water. It's fairly thick, sort of blend. I'm going to go straight for the top here. Doesn't need to be probably a little bit lighter, something like that, good. Right through the top. And I'm going to work my way in these buildings. The left. Keeping it pretty pretty accurate in terms of the line work where it hits the sky. This okay. I can put in some more, maybe a bit more black or something in there as well. That let's bring this down. This is all just the silhouette here as we get near to these little pillows and stuff like that. I'm just going to do a bit of tiny little bit of cutting around work touch here. And then we can get in the pillars that run down like this. Just simplifying them down. Just with 11 brush stroke hopefully should be enough for this. Look at that. There's the edge of my flat brush I'm using. Yeah. It doesn't have to be perfect. But it needs to show through the background area. You can see here as well just some little markings like that for the boundary of the part that you bring that across again like this. Just a little silhouette. And as we come down the page, again, we've just got the bottom part, which is the same sort of deal. Especially ran this side. There is more sharpness. A little bit more sharpness anyway. That's another one. Pillar anyway. Extra maybe a little bit more purple, little bit more darkness. Yeah. Water like that. This one here, last one. Okay. And actually inside the buildings There's all this darkness, darkness in there which will have to get in afterwards. But that's a good start for what we what we want just to quick wash there on the left-hand side. I'm going to work into these buildings as well. Little lighter and a bit more, little bit more brown in there as well. Just some little bit of brown. Oops, too dark, it needs to be a bit lighter. Let's write this. Drop in some purple there too. This is just to create a bit of a sharper contrast for the shadows. Another thing to keep in mind also is that the, the top of it, the top of this tower is cooler. It's got a bit of bluey tinge to it. So I'm going to drop in a bit of a cooler color like that. This feather that in nicely comes out of the sky bit better. Just work on. Welcome to shadow a bit more. I'm adding a bit more corners. These windows just add in a quick few details to join up. Join it up. I don't really want to go back in there again if I don't need to. Okay. Because it's all in the background, it's too much work to continually keep fiddling around with later. So this is just a bit of the brown that I had before, bit of that burnt sienna, and I've mixed it in with some purple. For me, it's just creating a quick roof area. The roof. Let me just put it in a bit of this cooler color there, join that up here as well. Like that. It's just crying and create some kind of pattern of light and dark. The shadows on the right-hand side of these buildings. If I can connect them up, it just looks a lot better this way. This is a bit of purple again. Just getting that over there. Use the roof. These roofs just have a bit more of this brownie tinge to them. So that's why I'm just getting a bit more. In fact, these ones on the top, more of a cooler tinge, doesn't matter. It's a little darker like that. And just blend this in nicely there. Here again, we've got a bit of this darkness. The front of the building. It's all in the background anyway, so not a huge deal, but just some softer shadows in the background really does help. But look, it's building. Q in the foreground, probably should have a bit of shadow on the right. Like that. I'm just trying to get in some extra details what's happening in here. And a lot of this stuff here is just pretty dark anyway. It's not a whole lot to add in there. This building here is just quite dark. More purple. They're sort of mixes and comes down closest to the foreground background, I mean, there. Okay. The rooftops, little hint of color on top and just to darken them down a touch. Okay, great. Good. So let's work a bit on everything else now here in the foreground. And what I really like is some of these reflective colors. And what I'll do is just sprayed down the bottom of the page like that. Cover this up. For that reason. It just doesn't mess around with. Mess around with everything above. A little bit of a bit of water at the base. And what we're gonna do, this is going to leave a little bit of light in the back. But we can pick up some color and getting kind of reflections in the ground like this, like that. Okay, coming off the buildings. So they look a little bit sharper, then suddenly they get softer like that. Okay. And not only that, but the figures as well. So we can put in the legs of the figure's, a little bit of the legs which joins onto the top of the figures. That, but then the legs kinda just blend down. Even this little fella here just carrying away the bits and pieces. Bit more blue in there. Okay. I really like how that's blended nicely. Well. So bringing this down, look at that, just pick up your darkest darks. Barely any water in there at all. Drop it in and you can get some beautiful reflections. Okay? I wanna do this for pretty much everything here. Let's have a look. Let's get in something like that. More purple actually, could be nicer. More purple, purple, little bit of black in there. And all this sort of just blends down the page. We can get in some more details for the legs of the figures afterwards. But just a touch of this to begin with is good. The ones in the back doesn't really shift around that much. It doesn't matter. Okay. Just these ones that are a bit closer. And even the lights and stuff here you get a bit of reflexive stuff happening down the bottom like this. That's just starting to come together. More water in here, get that they've just mix it around a bit better as well. Too saturated this spot. I'm just going to mix that around the touch. Some joining areas as well at the top. So it doesn't just put a bit more in. Maybe a larger brush, larger flat brush. This feather in some general bits like that, I can always add some more, more reflections and things in there. If I over judge this. Hey, nice little reflection lot that is good. Um, something in the background off notice is that there are some little shadows that may run across like this. You can see him just across the scene. So I'll just feather that in this larger shadow that runs across the back-end. You just runs across here little bit of it at the back spray to just loosen it up. They're building to the right. I'm going to just add in some light shadows in there, water down this purple paint and carry it down like this. Just indicates the separation of some areas in the buildings. But I'm just going to mainly leave the light in there because it's it's catching the light. Okay. This is just a little flat brush I'm using for this is a bit of this part that sticks out. Use well, the base of the building somewhere here. You can even and even just getting a bit of the dam would reflection of that building to that bits and pieces on top of the as well. Just indication. Good. I'm gonna give this dry. 52. Venice - Final Touches: The final steps here, I just want to bring out all the remaining details of this scene. I'm going to be using a blend of just a bit of black and a bit of purple brown. Again, really the aim here is just to create a dark, dark color and even neutral tint. We're quite well, probably 60 per cent paint. 60, 70% paint, 40% water. This will allow you to get in really sort of dark areas, as you can see here. Underneath these arches. There are just some extra dark areas that need to imply like here. I'm just trying to do this once that getting that in larger one like that. Going over the previous wash. And I'm adding an extra details up here. Even you might get a bit like arches that just show through a bit of darkness as well up there. And k, even here, these little areas are quite dark parts. So I can just go in, re, emphasize this. This is what gives it the structure and detail. Okay. Little bit more detail. Each of these little pillars so that they just drawn onto the shadows more, little better. Okay. What have we got here on top? I mean, actually underneath this so much, so much going on even here, there's actually a lot of darkness in the background. I can get that in like that, just little indications of that darkness. But there's also, as you can see, the yellow peeking through in the background. So you're leaving, leaving areas of that previous washing of the papyrus periods purple and also of the yellow. Okay. Something like that. We got up the top over here. There's a bit of Just a bit of detail for the top part here, just like a little line maybe like that. Just even k. And now is a couple of windows here that we want to put in. One roughly about here. One roughly about here. Getting the indication of it like this. This window. The other one also similar. That actually looks a bit better. Just a rougher edge. I can just smooth this one out of touch. That's better. There. I'm going to just work in a few little windows and things in these background buildings. Okay, just using the flat brush here as well, just outline that a bit more. And also on the right-hand side of the building, a bit more darkness with that when these two little windows at the top underneath here as well. Okay. I'm good. Actually, a little bit darker and some of them are darker. Maybe just depends. These ones here, just a few windows and dark areas in these buildings. Actually forgotten to go in. This is dominant, a dome. The distance r, I can get it in now. Darkness on the right-hand side of it. These things you can do like you can also just dark and down areas if you feel like it just would look better. Like that, create extra contrast. Here. I do think this would look nicer with extra contrast in here as well. So I'm just going to feather in a bit of purple to separate out the roof from the bottom part of the building like that. Here. Why not just do it here as well? Still leaving in part of that background wash as well. Darken down this attached as well. Okay. Some more windows and stuff going on in the background here as well. Just a little few little dabs of paint that. Okay. Another thing that you do notice over in the background is that these there are these kind of we call them wooden dolls and things sticking up. I'm going to mix a bit of brown with black. And getting some of this stuff just running, running into the background like that. They just sort of stick out of the water. And also some of these also form part of the fence. Okay. But they they kinda run through the entire background and I'm going to just indicates some of them. Okay, good. What I'll do is just work a bit more on the these two little towers as well. A bit of brown in them. Yeah. Like this. I'm gonna do this one wash, one quick sweep. Okay. Just keeps it more accurate when using a flat brush. It would top part. You're just adding a little bit of color at the top here as well. And top part of the statue. I need to get that to blend a bit on with the rest of it. And also sporadic enough. That's good enough, the tail doesn't matter. Here. Same deal goes. The figure on top means statues at the end of the day, they just, just people, right? So you want to just sort of make it look like a figure or a person. Same as the ones below. Just a silhouette. Right? Now the remainder of this size, I think it's just getting in the legs and details of the figures that also these lamps. So I'll actually start with the figures, bit of black. We've got, we've also got us look. I mean, just a lot of this stuff where it blends down the page anyway. So we don't need to really get too much in just the legs, just a darker kind of indication of the legs, the separation of them, which I think we'd lost out before a tiny bit. So this is going to help. Okay. I'm just using the edge of my brush for this, so I'm only gonna do this with the figures. I don't think it's necessary to do it with the these polls. I can just get them in afterwards. This is the person pushing a trolley and these legs behind the trolley. So just to mark of that on the ground like this leg to the front and late coming out the back for that figure Here. Here. This figure here as well. This is a figure here yet standing off in the distance there. Another one just walking in the back. You just indicating the legs of them? There's a few more here as well. And this one here, right-hand side. Let's work on these these lamps. Some more water in here. Okay. Pretty dark. You're the one in the front first. Saved me a bit of time. I'm having to do you do the ones in the back and then realizing I need to cut around everything else. Yeah, that's a lamp. And of course, some of these ornamental bits and bits, pieces coming off the side like that. The background ones as well. And the base here. Moving to the background, you don't need the detail that much. Little bit of darkness underneath these areas of the buildings. Maybe there's some little shadow or something like that. This light shadow, white little wash. Let me get these figures in a bit of extra color and personality into some of these figures. I find a bit of white gouache tends to work quite well. Yeah. And I'll mix it up with other colors as well. There's actually some lamps to the left-hand side. You can barely see it, but there are a few lamps, like potentially one running around here. So I can just indicate that I'm kinda copy the one right there. Maybe another one here. Kinda gets to the point we, it's hard to see exactly what's happening with all the lamps and things like that. But yeah, this is okay because it's quite quiet, dark here in the foreground, difficult to see. We're going to have another one here next to it, like that. Another brief indication of that lamp. Other one here. I'm kind of bits and bobs of things. Something even here, look at that. There's some type of fence or whatever. It's hard to see. These minute little details I can help translate over. Okay. I'm getting a little color for this figure here. The top of the figure. These two here, walking through. And the child is, well, just a bit of darkness. On top of the figures. I'm not concerned about the clothes that the color of the clothing that they're wearing. I just want to make sure some of these figures stand out against the light. Just a bit of color in there, this one as well. There's a guy here behind the trolley just pushing that trolley. It's hard to see him. I'm just adding a little detail a little bit of detail on the trolley or something like that. It could be carrying a box and there, for instance, something is just pushing around his leg behind. Maybe a bit of hair signifies head like their arms like they're okay. It if darkness on this figure. Well, I'll watch you use some quash later on too. I don't want to get all them in super dark. Some of them I just want a bit of extra light showing, showing through if it is. But because it's so light, especially at the back there kinda helps to get some of them skipped, some of them in darker red, in a bit of white. I'm just mixing together just to get an indication of the heads of these figures, just drop that in quickly like that. Oops. The face is really some of the squash white gouache that I'll mix up with a touch of yellow, little bit of vibrant yellow with the white goulash crates. Just a lighter yellow, yellowy, opaque color. And I can get this scene. We'll try to get this in for some final highlights. And thinking where I can start off, even like in the building. Buildings off in the back, can get some little tiny indications like this. Touch and go. I don't want to overdo it, but just finding some areas that you can draw out of this darkness and create extra details on as well. So I mean, look at that. Just a touch of washing their allows you to reshape things as well. Funny enough. I find if I just touch and go in areas that actually looks better than if I spend too much time fiddling around with it. I mean, this separation here, like that, a bit of light that I've regained. Also within the lights themselves. I think this is good. Like here. The lamps, I mean, like a bit of opaque paint. It just look a bit more brighter. I suppose. More present. Especially in these dark areas here, get a little bit of a little reflection on the left side of these lamps. Little bit of light coming back here as well on the left side of the these little areas like that. Just be quick with it. You can bring back a quick indication of light. Don't know how necessary it is to go in here, but I want to dress dry brush on some little bits in areas. And this is just for me to keep it consistent across different areas. Little bits of gosh. I can straighten up these arches here as well. That color, that white. That's straighten them up. Okay. I'm getting a bit of blight on these figures like that. This figure I'll just make just a little bit of wash in here. Yeah. You can bring out little details on the figures and make some of them stand out better. Okay. Peter Brown or something for the hair. Darker color. Here on these figures. Alright, and we are finished. 53. London Street - Drawing: Alright, let's have a go with this drawing. And I really liked this scene because we've got a really strong shadow shape running across this building here. And we've got a little bit on this building. Not too much though. It's kinda coming from the right at the back right corner. So let's get in this area firstly on the ground. So one of the little bit of area where the figure is, people are just walking about here. Okay. It's a sliver, the base. It's not even a quarter or a bit less than a quarter of the way up the page. And we can simplify this down. We know that this building starts roughly here in the center of the page, the left-hand side of it anyway, maybe center right of the page. And then we've got that side of the building there. We've got another building in the background to the back-end like that. Now another part here that just runs towards the back. Look at that just bits and pieces that we can imply and put on. Now this right-hand side is large building here comes in and it's really just a really just a shadow shape. Not much in there at all. And this is what's casting the shadow that we're getting crossed the scene. There's even buildings off in the background. It's hard to see, but there are smaller buildings off in the distance and a bit of trees and stuff like that. There we go. That's the side of the building and coming down like that. This is the front-facing part of the building. I don't like these billboards and stuff. I'm actually going to change this around and make some little windows there. Instead. Maybe down here, we'll leave it, it's darker and it's got some bits and pieces, people sitting down and what have you here as well. Okay, As figure person here, just walking in the foreground. Like that. You've got some of this stuff here on the sides of the buildings as well. Then we'll look at that just little bits and pieces. This building here probably put some nice little windows and stuff on it as well like that. Okay. What have we got another building up in the distance there, but they all running down like this, the end of the day. Side of it like this. This is too messy. Let me just draw this bit like that. Okay, sides of the buildings. There's also this is pointed sort of one coming up the back years and 27 building here. Something more buildings off in the background. And you kinda get to the point where they just clumped together a lot easier. Like that. See the sides of them can barely see what's going on. But this one here is the important ones coming in from the edge. You've got this dome shape. I'm going to just lower the dome slightly so that it's not two obvious and too high up there. There's a little window up the top, like that. Comes all the way down to the ground here. And then we've got the edges, the sides of the building just stretching out like this machine and get rid of these buildings here to make room for it like that. There is another white building behind there, but apart from that, not really much much getting in the way. Yeah, it's funny enough. There's no nothing on top of the dome that let's bring this down. And we've got We've got a few floors, but I'm just going to get in this area here. Bring that to the back like this window there, and a few windows here as well. Here, here, here. Like that. Because this area like that. And underneath there is the shops and stuff as well. So we can get in some indications of that. Easy. Okay, Let's get in some of these people. Now, I'm just going to scribble in a few of these heads, which is people walking in the distance or they could be people closer by As well. There's a couple here, couple of here. This one here could just be walking towards the right-hand side. You can even get figures that are quite close to the foreground like this one. Like this one here. Closer to the foreground and larger bodies as well like that. Walking in the distance. Okay. Good. Some more, just a little detailing on this building. And nearly there just at the perspective of this one here first, just going in a bit. We're really coming into the foreground almost like that. Okay, some windows and stuff. And we're ready to go. 54. London Street - Lights: Okay, first color I'm going to start off using is a bit of yellow ocher. Right onto the buildings themselves like here. Look underneath the dome. There. Here, just cutting around the figures. As you can see. Cutting around those figures and the buildings, skinning and enough of this color. I've got a bit of this quinacridone gold as well. Let's put in a bit of that. Okay. It's a pretty light color. The mixture is mostly water in here, I'd say about 80 to 90% water. We can come down here this bit. I'll leave, I'm probably going to get in a soft shadow there later on. Some of these buildings you'll notice are kind of just white in color. So I'm going to leave some of that in getting more of this this kind of milky color in areas of it. Okay. It's just an appellate called buff titanium. And I'm cutting around some of these other buildings, leaving in leaving inhibitor the white there. You've got a lot of this shadow and stuff coming through here as well. But we want to just make sure we've got some warmth in here. That's all. We would warm color like that. The front of the building. Let's let's get in the same sort of color. Doesn't matter. Just as long as it matches up with everything, the shadows when we go over the top of the buildings after it's gonna look a lot better. We just want to get in some soft colors. At the moment, just mostly water in this mix. Darker building here on the right hand side, I'm just using a bit of this purple on my palette to just get it in. Because there's a figure there as well. A lot of these stuff here is pretty dark. I'm just going to drop in some dark color in there. And also some green for the trees off there as well, just to blend it in like that. In the foreground, I'm going to make the ground just to a doc, a slightly darker gray. But you'll notice that it's still around the same tonality as the buildings. Okay, so this is going to preserve this sense of light. We make everything just to dock at the moment. You're not gonna be able to get that get that lighting. Okay, this is the goal of this particular wash. Oops, I forgotten to getting a bit of this dome. Slightly cooler color at the top. Well, that okay. Maybe darker there. I'm also going to just drop in some of these purple here to get in a soft shadow on this building. Sometimes a flat brush is good for this. Just try it. Like that. Bit of a softer shadow coming into the scene. Okay. Make it a bit here as well. Just a little bit of that underneath the dome. Softer little shadows. To simplify this down here as well, we can just get in a bit of a softer shadow there. I'm good. Let's get in the sky. I'm going to put in just some cerulean blue at the top of their list of water. Going to leave a little bit of white on the edge of this so that it doesn't all just bleeding there, that little bit of white here as well on the roof. There. Other areas I'll just blend my problem. Um, that okay. Good. I'm just smooth off some of this. Maybe a touch of purple in there to get some darker cloud or something, just an indication of that cloud working its way through. And they've bit here maybe just to give it a bit of extra interest, you that the base some more as well. Little bit of that. Okay. Good. Let's give this a try. 55. London Street - Dark: Let's go ahead and carry on. And I'm going to put in all the shadows of all the figures and of the buildings and things. Now, remember the shadows are going towards the front, front to the left. So if you look at the people, The shadows are off to the left, but in the front as well. Let's go ahead and get this shadowing for this building first. And I'm probably going to just use, here is my little, little mop brush to small mop brush like this. With a nice point. I'm going to mix myself up a bit of purple, a bit of ultramarine blue into that purple, as well as a bit of black as well. A little bit of black. And brown would be good to go, just a nice gray color. But I will vary this as well. So look here, there's a little There's a section here that covers part of the building. Okay. Then you've got it go across like this. It's just a big shadow shape. And this also touches on the left side of the building there. So this is going to be quiet. I'm going to need to make this a little bit darker, probably. Like this. Okay. There. I'm bringing this down like that. Nice wash, maybe some more, Let's get some more blue in there. This mixture that bringing this down and carrying this across there and leaving bits of darkness showing through and light as well. See this better slither of white light in the middle there. Let's, I'm just gonna leave that. I can leave little windows or something like that in there as well. Okay. Now, the proportion of paint is about 50 per cent paint, 50% water. This large shadow just covers pretty much the entire building. And then as you get down to the further down, it actually gets a little darker. And I'll just alternate as well between using this, this little flat brush I find this is great for getting in. It just extra darks. This is like a kind of barrier or something here I think. Should imply some, something. If water, a bit more water in that mix that down extra darkness around this area. So I want there to be more darkness at the base of the building here. Get that to blend in nicely. There's a figure here as well, kind of just walking in the front. So making sure to cut around that figure. But more or less just quite dark. In this area. There are people sitting in there as well. We'll have to get in some indication of that later. Getting another building here or something. Let's have a look. All these buildings out the back as well, they need to have a sense of darkness in there. I'm going to add a little bit more water to my mix so that the shadows just become lighter at the back like that. And just cutting around or the figures might use the flat brush. Now. So it just makes it easier to create these shapes that sometimes you, yeah, you just got to use the brush that works most effectively. Depending on what you're painting. Just drop in a bit more here. Let's have a look here. Bit of this shadow on the left side of the house, building in the back. Now here we go. We've got all this stuff here in the foreground. I'm just going to get a light wash of purple and just get it in like that. You find actually there's actually a lot of these little windows and things running through here, and you can just indicate them with a bit of darker color. And just dropping it in like that without much without too much effort. Okay. Underneath here it's gonna be pretty dark, so I'm just dropping in extra paint here. I'm also just making a few things up, like here. There's actually maybe a bit more darkness here where that shadow is just underneath. You've got also some Windows running through this this darkness like one there. And then another window here, perhaps here. Here. The shape them a bit. Better. Don't need to be perfect with these. Dry, dry the brush off a bit and then you can do these little marks to mark out the floors of the building. In the top part here of this building, dome, There's a bit of the details of the dome as well. I'll just dropping some indicators of that like that. Okay. They're just drawing with the brush essentially. Here on the side. You've got some more opportunities to get in these little like windows and things here. I'm just putting in a few like that darkness at the base of the buildings here to draw out some of those details there and also helps to cut around the fingers, creates some extra details. Now even here, there is some kind of part that sticks out of the building. Just exaggerate that and bring that across to the right-hand side as well. Underneath the buildings, extra darkness here as well. This building to the right really needs to be darker. Okay? And just get some more of this in. There's also a building here in the background here that's just darken down. I'll get that in quickly. There's nothing really. It's just a just a silhouette back there. Okay. Finding some other areas, I can just bring out some of these darkest contrasts on heirs of the buildings and you can even see this sum. I've not put that, put that in here, but there's actually additional details on top of the buildings, like just parts of it that stick out. Simplified down. You can't really tell what's there anyhow. Unless you pay very close attention. That soft shadow that runs through as well, the left side of that building looks pretty good. Little markings like this to indicate windows on the buildings. Look at that just a little quick. Little things like that. And also on the sides of the buildings like this, you can see tiny little ones as well. Like that. This little towel or whatever bit of shadow there. Here, I'll just make up some windows. That could be one, another one here. Here. And because this area is still wet, it hopefully will blend into the previous wash as well. I do feel it needs some. Line work like this too. Yeah, that's better. Some little marks like these to give it a better sense of perspective. Like that. Again, just getting in the small details of Windows under the rooftops, you've got some little bit of color, a little bit of darkness, and even the top of the root, the areas here, they're just going to just kinda have a bit of color up top. Okay. Dropping a few more windows and things running by the sides of the buildings. Good. I want to join this up here on the ground with a bit of darker shadow. Okay, So we're gonna just get this coming in like that. It's darker shadow from outside the scene. I'm mixing in actually a bit more black in there to just make sure that bottom of the buildings combines better. And I'm just gonna go over. And perhaps this figure might have a bit of a shadow on him as well, like this. There we go. Things in shatter. Good. Let's kinda just mixed. Mixed downwards. Okay. Good, good. Shadow for some of this stuff here on the ground as well. Where people are sitting in the inside and that kind of thing. I'm good. Now, time to get in the figures. I'm going to put in a bit of darkness for the legs, for these ones anyway that are just in the description. So to me, like there there's a couple of legs here. Here. Here. Yeah. Like this, these figures here. But I mean, that could be a figure, leg of a figure or something there as well. It's hard to tell. More just the torso really. Let me just dial this down. A bit of yellow or something in here as well. This could just be a figure Here. Bit of darkness. The figure here, the left-hand side, just a little bit of darkness on the left side of the body's. That this is a way to kind of join up the black as well, the down and underneath the figures. This is where we need to get in the shadow. So I'm just going to join it up and create a bit of a shadow running forwards like that. Even this figure might have a shadow running forwards. Here. Is the origin showing the origin of it? There? Yeah. Okay. Just here as well for this figure, the foreground to the right. Adding a bit more contrast in the background to bring out the details of the, of some of these figures. Shoulders and the heads and things like that as well. Okay. Yeah. It's going to be a person they're putting a little some just little touches of color near the these areas of the roof, like the corners and things where there might be I know it can be chimneys or just Things sticking out of the roof. I think this is good to imply part of this. Anyway. I know it's not really there, but I want to add a bit more detail in areas of it. More shadow underneath the roof top. One here. Some liberal perspective lines on the ground. I'm just getting the lines to converge at imaginary point here on the horizon line. These little lines on the ground. I'm doing the same here on this side as well. It's kinda like a two-point perspective scene. More color under here and little shadowy shapes. Shadow under here and some areas of the the roof the roof or the side of the building. Some of this stuff. I'm just adding in water as well too. Make it a bit more conjoined and we Interesting, Okay, bit of water in there to soften off some of this stuff. You can even do it here to bring out just a little bit of light and beats in here by lifting off some paint. Mainly you've just got that large shadow running through a green tree or something back there. And there's also a tree here which we put in a bit of indication, but are getting another quick wash over the top. Give it some extra texture. Okay, now some final touches, just a bit of gouache to bring it all together. Alright, I'm going to bring out a touch of highlights on this. In this scene. Let me just put it in a tiny bit of pink or the heads of these figures. First, I've got a little round brush. And this just serves to as an indicator. Well, the faces, the heads of the figures. Okay. Touch. Yeah. Okay. Much hands or something. Base here. Just indicates that it's okay. That's fine. Okay. Let's put in some of this white gouache. White heavy. I'm just adding a touch of water to activate it. We will touch of water and dry off that brush quickly. And let's find some little highlights. Touch some of these buildings like bits and pieces that you might want to bring back into the equation. Again. I can just add in a bit of gouache on top of the head of this figure and the side, what side of the body like that. This could be a person in the shoulders of the person maybe just walking through here. I did have a person walking through here as well. So just to touch her that gouache on the backend of the head and like that, it does help. Okay. There's someone back here would be to quash on the heads of these figures in the fall in the mid ground here? The head and on the shoulder. Yeah. Helps to just bring it out. Bring out the details of the figures better. Here. Shoulder like that. The rest of it is just up to you. I mean, it's you don't have to really do too much with it if you don't want to. But little highlights on the window sills and things can help. Bring back a little bit of that sparkle in here. Smooth details as well. Spring back a bit of light on some of the buildings. Wanna do it all over. All over the joint. But yeah, there's there's some of these like I know what these are like little poles or something, distance the dough. Just creating, making a few things up here and there. And we're finished. 56. Prague - Drawing: Some type of long exposure and you can see all of the light emanating from the center of the scene. And it sort of hits the side of the buildings, closest to the light. But around the edges, you've got a bit of darkness. So if you look at the, say, the front of the buildings and the right-hand side of the buildings. On the right you can see there's bits of shadows and things like that. So we're going to make shadow, the shadow effect a little bit more apparent. But firstly, we need to get the drawing in. I'm also wanting to maybe make it look like there is some reflections on the ground, some wet reflections or something like that. So one thing I wanna do is I want to just raised the horizon line and a little bit now you can see just the pathway. It doesn't give it too much pathway. It's mostly just buildings. And I'm thinking I might actually raise this up a little bit in. Another thing with this scene is that it is a little bit compressed. So I'm going to give it a little more here and that's still going to give me enough room. Maybe around here, it's still going to give me enough room to put in the buildings and things off in the back. Okay, but little line like that. Same goes over to the left. This is the most important part of your, of your sketch, the starting part of your sketch anyway, putting in this large guiding line. You can also see there is a center point roughly about here. Mark that center point. And then it just joins up here with the side of the wall. Okay, so I can go ahead and draw that line connecting up All the way, all the way to the center point. Something like that. Also comes down here. The wall just comes up and touch this. And smaller as we go up. Something like that. That little bit of that wall. Just having a look to see roughly the how accurate this is. And I'm gonna give a bit of room here. And just for the center of the arch way. And we'll go and get in the other side of the wall. So coming down the page like this and just put that in the corner. Rough. Oops, probably. We should give it a bit more more like that. That's better. Then it does come down all the way to about here. So you can just see hits the edge of the page kinda similar to that one. And then it just goes up. This is subject to change as well. Later on, if you do feel like it's not hitting the mark or you might want to make it more prominent. That is also doable, Okay? Another thing I think I might actually just increase the height of it a touch. I think it will look better with just a little more, tiny bit more height. And you know, you've got these statues here. And they actually are old recreations of the original statues that were here in the first place. And I don't want to get in too much detail, but the way you make these statues, essentially you joy statues that you can basically just drawing the people. They are essentially people. But you just want to make sure that you position them correctly. Statue ends about halfway through the page like here. So I'm going to just put in like the head of the statue like that, something like that. Like that coming down here. Standing on this area like that. There's something new feet to that statue. That's fine. That's all you need. Something quick like that. Okay. We can just straighten up this one a touch and add a bit more of the base on a neglected to add in enough of that base, I think. Here comes that wall again, just to alterations, tiny little alterations you can change around. Here on the left-hand side, you've got another statue ends a little bit higher, and it's actually forward slightly closer to us as well. So it's probably around the one that the one-third mark of the scene. Okay. Again, it's not super important that it is in the exact place as the reference, but I think it's fairly important to have it closer than that one. So we can have a sense of depth. Increasing depth in the scene. Look this, I don't know what this is. Looks like. Might have to zoom into the reference to have a quick look at what's happening in here. There's a lot of detail in here and I'm just going to really get it in with more of a silhouette type of look to it. You can see the statues finish a little bit further up, like roughly here. So I can just zoom in a touch on the statue and just see what have we got in here? I mean, this just silhouettes and we can't really tell what even know what that is. The look. These are kind of like animals or something down the side. Okay. This has a bit of a step here, like that. The bottom of it here you can see this squarish base. Okay. Just get draw that squarish looking basin. That's all you need. Everything else is just a simple silhouette. It looks like they're part of the statue. This, I'm going to sort of just standing up, appearing forwards. Something here as well. Again, quite hard to see what is going on there exactly. Okay. But again, this is all just gonna be as simple silhouette. Once it's done. Now, I'm gonna go bring this up a touch like some kind of animal here. There. And then there's a bit of something on top, but then you've got to top areas of the statue that these two figures just kind of pairing off on top. So just putting them in here. And this one is sort of peering downwards as well. Okay? Like that. Simplified down, of course. The important things is to get the heads and the shoulders in correctly so that it actually looks like as a person there. Okay. That's all you need. That's all you need for those statues. What else do we have? We do have actually a couple of other smaller statues off in the distance is one here. This tiny one here. Let's sketch one in like that. That's the bottom part of it. Side. We get another one in here as well, kind of adjacent next to it as well. And again, it's just that same sort of the same sort of detail, but a lot smaller in the back as well. So we don't want too much going on. A couple of smaller statues there. Of course, you start noticing things now like the lamps, okay? And you've got a lamp right here. It's going up and up. I do want to enlarge and just make this one a bit bigger than how it appears. We zoom into the lamp and just also tried to get into details of it better like that. Something like that. And a bit more of the bottom part of the lamp. Okay. It's little smaller. Now you've got a couple other lamps here as well. I have this funny-looking base like that darker base. Here's one like there as well, just on mounted to the wall. And pretty small one here. It's kinda further back than the other one. So you can't see too much of what's happening in there. But it's enough detail. It's really, it's really sufficient to imply what we need to, which is just a simple little lamp. Here's another one off in the distance. Again, difficult to see what's happening. And maybe another one off here as well, just to keep them matching with each other like that. Okay? So that's a lot of the stuff in the foreground I think what we could benefit from, as well as some figures. I'm going to put in a figure here. Let's have a look. Maybe I can put it in a couple of figures here as well. Just walking into the scene. This overlapping a little bit. Legs. Okay. This one's a touch closer. I can get an a foot at the front like that and this foot at the back. So it kinda looks like that person's walking into the into the scene. Okay. We can have another figure here, also kinda just walking towards us, e.g. towards the viewer. And this stuff's gonna, I'm gonna get in a little bit of reflections for the legs as well. Okay. Have to wait until a little later on. I'm also just thinking to myself whether I want to put it in another figure here, just slightly larger one. Why not? We're going to add another one just here. Okay. Walking into the scene. That off a little bit and create a bitter better kind of silhouette of that figure. It could even be walking across that venom couple of arms just walking across the scene. We go Something's something similar, simple like that. Okay, good. That's enough for the foreground. I want to go and work a bit on the background now and we've got that line there, thankfully, of where the buildings stop. We know where the buildings start. We want to figure out where they kind of finish. Now over here we can just use the guides of the actual paper to figure this one out. So I'm actually going to bring this building to the right team somewhere about here, okay. These buildings to the right. There's a lot of detail on them, but I'm going to try to simplify this down. We know they finish about halfway through the scene. Because if you look at the statutes roughly about halfway through the scene, and we want to make sure that the buildings are about the same height, the top part of the buildings anyway. Okay. Let's just simplify it down. Something like this. Something like this. Okay. Increase the size of that wall as well. I think basically just needs to be beefed up a touch. I've given this a lot of room at the, at the bottom of the painting so that we can get some extra reflections in. Okay. I'm going to widen these are touch like that so that I can get in these kind of triangular parts of the roof top like this simplified down. There's actually a lot of a lot of stuff going on in there. If I can just reduce them, like the size them down as well, I've gone too high up. They should be roughly around here. One that and to like that. And let's get in this side of a building. Just on the side there. There's a couple of windows and things there as well. Just cancel. Couple of those windows in like that. Okay. The side of that in as well. There's also interestingly, there is like a tower off in the distance. You can barely see it, but you can actually tell that there's a tower sticking up. I really didn't see that before, but I'll leave that in there. And this can be something to just cut around later, later when we do the watercolors, darker sky. So it just creates a bit of interests there in the background. If you want to, you can actually detail this building a lot more afterwards. But for my purposes, I really just want to simplify this as much as I can. So under that building like this. You've even got a building that comes in front. Like here. I just want to darken this statue here, the front as well. It can be easy to just lose track of what we've got in here. If we're not careful. Couple of windows. Now what this building is, it's kind of looks like it's closer, but like it's a side of a building or something like that. Yeah. Difficult to really tell. But it does go out of the scene actually to the right-hand side. So we can leave that. I think that should be enough. Now let's get in the middle part, the star of the show. Just start drawing a line across there where we've got these kind of arch. And we know the arch starts roughly near the start of this wall to the left. Okay. This is actually a building right there that you can get in already. Okay. Little building there on the side. Pretty small building. That building in. And let's work on this arch. Now. We know the top of its about here near the start of the rooftop of this building. Yeah. That and I'm just going to bring this down to here. Okay. Yeah. And here there's a little archway on the inside. You can see it's running down the page like that. Darkness of the shade that in like that. More detailing on this arch. Good. Let's get into the top of this tower. We know the tau finish is quite high up. I want to reduce it down a little bit as well so that it doesn't go too high up and to the top of the paper. So roughly where does it start? Around here, the center of the series. The center of this arch. This is where the side of it comes up. And then of course we've got a bit of this light on the edge of the tower like that. There we are. The detailing. Spend as long as you need on this part. I find that you want extra details in here if possible. Because it's such a crucial element of this scene. The actual tower. Okay, little bits of detail, but you've essentially got this area near the sides here like that. And little bits of dark and light areas inside like that. And then the top part of course, which is this going up like that, coming down, It's like a triangle. And then we can get in this H like that, coming down like that. There we are. With a steel bit of room to spare on the top of the page. And it's actually a little taller than the reference photo. The reference photo is compressed a bit as well. But I think that's a pretty good indication of it at the moment. Here's some little tiny little features on the side. And in this little window here, I'll get that in a window here as well. That in some marks like this. These markings on the building helps with the. With the perspective there. And these bits, these little spires on the side as well. We can just put some of these in like that. That's one. We've got another one here just to maybe around the same height, slightly more that area. And of course here we've got another one that just runs directly up, something like that. Okay. I think that's looking pretty good. For now. The only other thing I might wanna do is just straighten up this side of the building and touch. Feel like it's just a little bit too wonky on that side. Little eraser here. This tidy this up a bit more on the left. Just a bit of darker, sharper as well. Same thing, touch of erasing. Smudge that area before, but doesn't matter. Checking if it's straight as well. K little bits and pieces. Now, for the start of the bridge, I'm just going to put it in a few of these little indications of the top part of the bridge, 123, something like that. Or top part of the bridge makes it look a bit more medieval style. Now, I'll come down here and just drawing on the left side of the star to the breach roughly here. And look how I'm see that little separation in the building here that I've drawn on of new realize that matches up with the left-hand side area of this roof is building roof area here. That's what I'm doing. I'm just adding it on is what this is. It's just some kind of structure. I don't care. Just want to get it in there. Quick indication like that. We can work it out later with the watercolors. Of course, you've got Windows, one here, you've got another window. Somewhere there. You got another window here. You've got a window here, even like a window anyway, couple of windows here. Let's have a look behind this. A little bit of detail here is like this part of this structure. That it's just another part of the bridge and it finishes just above just where this one starts, really like that. Something like that. Okay. It's coming off the top as well. Like that. And behind this, like just some buildings. When importantly there are some dome-like structures that I think are important to get in. They just create a bit of extra interest. Here's another dome-like structure, another building in the background, just some more interesting architecture that will create a little bit of detail in the background. Okay, that's one. And then you've got one here. It just overlaps and forms not a dome up the top like that. They're just overlaps with the buildings. All the buildings is even a little open area, the circular window or whatever on there. This is another one here, just another door or window like that and bring that down as well. This is just simplified down. Might put in another dome here just to shield off this area touch. I've made this one too small and so I'll put another one in there next to it like that so that this light can kinda come off the front of this building. I can make it darker at the front. So we have got a lot of the details in so far. Okay. I just thought I'd put in a few of these little windows here while I can. Not only that, I'll just going to outline this figure statue because starting to just lose track of where it is, I don't want that to happen because I need to make sure this is in pretty accurately afterwards for the watercolors to darken it down. So all these buildings in the back of pretty much done. I mean, I've just got to get in some of the buildings to the left. And we're pretty much ready to go here. We've only got a few more left to do. We need to fit one here, a building down here, the left-hand side. Yeah. Okay. And now there's just so much detail in here, we just have to simplify it down. Okay? It's enlarge building the x just runs through to the left here, is just before this statue. You can see it. Just this larger building that runs through. Just to raise this line here as well. We don't need that. Need that line. Mostly for the center of the scene here. And we've got actually an area where the see the top part of the building, this window pop out the top of the building. There is a oops. There is a top part of it like that. That just a little attic or something like that on top of this building. Trying to imply darkness there. Okay. Just getting in some detail in this building. Bit more vertical line and a more accurate vertical line to k, That's part of this house to the left. A little bit more detail here because it is closer to us. Window here. Well, there's some little bits underneath it, but it's not a huge deal. This building, however, does have some windows on it right there, and some of the lights, lighter Windows as well. A lot of this stuff. I'm really going to have to be careful with it and try to just get it in fairly loosely, especially these background shapes here. Not important. Here is this building again. It comes up and then you've got it just sort of go across like this. And up there, we got another one coming up like that. That then you've got another one coming across like that. Okay. Let's get this top of the roofing. Join up roughly here. Oops, maybe here. Okay. Now the part of the roof to the left as well. This is just the larger part of the buildings. As you can see to the left. Hopefully we can get this all in with more of a quick silhouettes and wet and wet work. I don't want too much in here. Window here behind as well. Nice little window. And another one here. You just trying to pick out a few little details here and there to bring it together. Kevin, this is not so important. I think that's a pretty decent drawing. We can go ahead and get started now. 57. Prague - Light: Okay, so to begin, what I'm gonna be doing is just giving the paper a little bit of a spray down. With a lot of Justice. Mr. I've got here, but I've also got another paintbrush. Just makes it easy to use the MR and the paintbrush together. But yeah, if you don't have never missed or just use a normal paintbrush. And what I wanna do here is just wet the paper completely because we want to get in some nice wet and wet effects, some wetting the paper first. And the point of this is, so what we can get a soft gradation in the sky. I want to get in a little bit more darkness down the base of the sky and teeny bit more light up the top, just to imply that the sun has maybe just set a teeny bit more light up there and moving this water around. And I really got to make sure that the paper is completely saturated and you will find that this will walk, the paper will warp slightly as well. Okay? I'm using 300 GSM paper. Once you've got that paper pretty much completely saturated. What we can do is start by picking up a little bit of light paint. Okay? The page now completely saturated. And I'll pick up some lighter paint. And I've got a bit of this color. This is just a bit of buff titanium white color. Drop a beat in there for the top of this, this part of the painting, canvas tower, I'm going to drop in a little bit across the sides and down here as well. I'm going to try to make this, make sure that it's not too vibrant. But I want to save those vibrant parts for some areas where perhaps I'm going to draw extra attention. Can I've got a little bit of yellow ocher here as well. The yellow ocher is great to warm things up in certain areas like here, maybe there's even a little bit of brown touch of brown ocher as well. We can just drop the parts of that in. Okay. So firstly, just to focus on the lights and the lighter sections of the scene. If it goes into the sky, don't concern yourself too much. Just try to get in a nice little warm wash and you'll find that it will go all over because the paper is just pretty wet at the moment. There's no way you're gonna be able to control much of this, but what you will be able to get in is a very nice, beautiful soft wash over everything. Left-hand side is a bit more saturation, so there's actually touch of yellow ocher. Then I'm going to pick up here just to warm this up a little bit, going a bit of this gold, golden color as well that I can drop in here. Just for these, this building here, I didn't just touch it at yellow. And also got a bit of darker color here. It's a touch of gray, a little bit of gray. And I'll mix up and just dropping here as well over the top of the buildings. Even here, the rooftops of the buildings as well touch it that gray. Do find that a little bit of it over in the background on parts of the buildings. And I'm purposely just using this larger brush because it makes it, it makes it forces me to paint in a loose manner and not get too obsessed with all the colors and all the, all the little details. This building to the right, a little bit of that yellow in there as well, a bit of yellow ocher. We noticed that times that I'll just pick the paint off straight off the palette. Okay. And that's when it's usually a duller sort of paint. Otherwise, I'll actually mix here of mixing, mixing a little bit of this yellow and just to make sure that it's not too vibrant. And let's get into some of these reflections and warmer colors in the ground. I'm just going to reflect some of this some of these warmer color down the page like that. Good. In the sky. I'm going to put in a little bit of a cooler color down the base. So I'll actually mix up a bit of purple with a bit of black and also a bit of brown, so that I can get a cooler color, but I don't want it to be just overwhelmingly purple. Combining these three together, brown. This is brown ocher bit of black, lamp black and a bit of this purple. I've got myself a kind of nice mixture of all three, but it's mostly like a cooler color. So I can just start by going in at the base, like listen, why don't wanna do as well as maybe it just turn the page a little bit so that the paint doesn't flow, doesn't float down. And then picking up this I'm picking up this wash which is going in straight. Like this. Little, little bit of cutting around work. As you can see. Crops amine over here, too. Little bit more darkness. Okay. I'm going to close. And just holding the paper so that it runs up with the touch like this. This will make sure that it doesn't go into the buildings and start disturbing the washes. Now I'm going to continue doing this. And what's going to happen is that the colors in the buildings, the warmth from the buildings, is going to slowly, slowly creep upwards. As you can see. The dark is part of the painting will be right at the top. It more darkness like that. Feathering that in. I do want to get a bit more contrast around those buildings as well. It's tricky, but you just have to keep on using this technique bit by bit and feathering, feathering in that paint. And also I'm using the paint quite dry, not too much water in there, and that allows me to get in a softer effect and the bloom or spread too much on the palette as well. And the paper, I mean, that just makes that back in to have a bit of tissue paper as well. If you can just dab off areas, little mistakes that you make. But around the buildings like a little bit of yellow that's going up into the sky. That's actually, that's actually caused by tilting the paper upwards or touch a little bit more blue. Or I think we can, we can put in some ultramarine. Now bit of the ultramarine. I'm going to give the ground a bit of a spray as well just over here so that it stays wet. Don't want that to dry too quickly. Okay. While we work on this top section and getting these colors left-hand side as well. I do want some more separation with the rooftops like that. If you keep the brush relatively, it's wet, but there's not a whole lot of water on it. You will notice that it doesn't spread as much. Colors, just don't run all over the place. In the areas of focus where you want the most intensity is where you want to use the dark has colors. So e.g. maybe you want to put some more here. Just to get out that tower a bit. Okay. Here. Here, put in a little bit more paint. And that section put in a bit here. Even here. So suddenly he's kinda turn into Cloud like shapes as well. Cloud shapes. You can see here. Here as well. I can just drop in another spirit of color and let that spread in. Because the paper is starting to dry, you notice that the paint doesn't run all that much now at the top, more or less stays put. So you get a soft blend where the sky is. Just really what I want. I don't want to whole lot of mixing around and mess happening. Top of the scene. I want to put in more darker colors, black and purple, to a darker concentration of it. Feather that in a bit of ultramarine blue to cool it down further, even arms getting a bit tired from this. Okay, But while the paper is wet, you will notice that it just blends nicely and finds the paper, the paint just finds its way into all the nooks and crannies. Very nicely. Okay. Some darker bits as well. One I'll just add in some darker parts of the sky, some little indications of darker clouds and things. Just play around with it. You have some stronger concentrations in areas as well, and that helps to bring out the light. It's quite a lot of work. This just continually add an ad while the paper is drying, but it's the only way that you can get nice and beautiful. Little gradations like this that don't look too out of place. Softer, kind of softness in the sky. And with enough separation for the buildings as well. Separate and shift this around, especially if it starts drawing a bit too dark, I can just feather feather it in a bit more so that it doesn't dry too funny. Touching. Go. Really start to get there with this. With this guy. Some more black apps up the top. Just another darker cloud or something like that up here. Doesn't matter. I'm going to work a bit on the buildings and just putting some color in there, e.g. here I might, I thought to myself maybe a bit of brown on the side of this building while the paper is drying would be good just to get in a touch of that. Because shadow, something here on that side of the building, something like that. This is just a touch of brown color, brown ocher that we can get in the front of this part as well, like this. A bit of brown ocher with a bit of burnt sienna mixed in there. The burnt sienna just gives it a touch of vibrancy and areas can just cut around. This is the start of the bridge. Okay. I think that's too vibrant. I'll mix some more normal brown in there with a bit of this buff titanium color. Get that feathering. Bid up the top as well there. What we're doing is we're putting in some shadows, some little shadows. While the paper is still wet. Here as well. There's a tiny bit of shadow maybe in the left side of that tower. Touch here as well. Just soften that off and let that go in there. Some of these buildings out in the back as well, there's some softer shadows on them too. So this is a great time to indicate any of this stuff. Here. Little bit of shadow here as well. I'll, of course later on I think I'll sharpen this up a bit, but I think it's a good place to start. I'm trying to really picture the trying to picture the shadows on the buildings. Okay. Left side, you've got a lot of that right side of that building exposed. But it doesn't matter a whole lot right now. All I'm doing is just putting in some softer ones, softer shadows in the background. We'll actually get into some sharper ones anyway. Okay. There are these ones just look pretty pretty dark as well, slightly darker anyway. But the back of the, you can see here this just a bit of shadow on the back of these buildings. So why not just drop in a little bit of darkness quickly like that. Okay, let that feathering form part of that building. There's bits and pieces in here, just simplify it down. Okay? What's going on in the background here? There's maybe a little bit of coolness here as well. That little tower, good rooftops, these buildings, little, little bit of coolness in there to like just a little bit of grayish, cool gray dropped in there. It starts drawing off too much. Just use this little spray bottle. Use little spray bottle to undo it. I'm going to put in some cooler gray color facade of this building as well. Just getting a bit of that gray color like that. This wall, this link touch of this grayish color again is gonna be good. Bring that all the way to the front. I'll redo this again any way light up, but I think this is just a good start. Good start to place it in there. Okay. Good. At this point, you know, again, we're not really putting in details. We're just trying to get in some of these mid tones, not the super sharp shadows. We'll get those in a bit later. Okay. I'm down the bottom of the page. I actually want to feather in some purples, but I also want to get in the reflections of the buildings. I'm going to feather in a little bit of this purple and remembering to leave some light running through the scene as well, really important. The light comes from these lamps as well. Spray this down quickly. Sprayed down a bit. Okay, And what I'm gonna do is just pick up bit of dark paint. Get the, get the scene. I'm facing downwards just on a slight angle now is the top started to dry off fine. And really, the idea is just to put in some darks here in the bass. Now the shadows were the figures, all the reflections with the figures I'm not worried about yet. We can do that later. Just re-wet the whole thing. But again, just getting in the soft little reflections, soft little bit darker shadows here. It's really important for this wall as well, just outlining it. It's really just putting in all the lighter tones, but then also some of the mid tones as well. Okay? This statues be a little bit tricky. Putting a few little bits of gray in there as well. Why not? Okay. So this is looking good. I think it's looking decent. We will draw this one off. And then we'll start with the second wash. 58. Prague - Dark: Okay, Now we are on to the second part of the whole process and that's painting a large shadow shape over everything that we see completely dried. And really what I wanna do is make sure that we get this. You can see the shadow coming in right at the front here is a soft shadow joins up with that building, but there's also soft areas of light on some areas of the building. But I find just getting a way to connect a big shadow shape all in one go is the most important thing here. So let's go ahead and get started. I run it, just get Going on this side here. And the most important thing, Iraq in any way is mixing up yourself a nice cool gray color. I'm going to mix up a bit of this purple. I'm going to mix up a bit of brown and a bit of black together. My usual go-to for shadows. You can also mix you three primaries together. I've also got some neutral tint. You can even add that if you've got neutral tin, great shadow, color, fine. If you mix up a few of your own colors, they just look more interesting. Now, I want to mix this up so that we've got a good amount of it so that I can carry that through the painting. And I don't want it to all be the same as well. So I want some parts of it to be cooler. In some parts of it to be warmer. Here on the left-hand side you can see it's more purply, more bluish. Even. Then on the right-hand side, I've got more kind of move a warmer. Warmer gray? Yeah. Okay. Warmer gray because I've mixed in a bit of brown in there. We've got a nice combination of colors and also we want to make sure this mix is probably about 40 to 50% paint and the rest of it just water. So it's predominantly water, still biased towards the water side. But keep in mind that this paint is pretty dark. So we don't need too much of the paint in there, about 40 to 50 per cent. So let's give this a try. I'm going to pick up this little bit here. And let's find a place that we can start. Let's go right here. I've got a flat brush. This is just going to me just makes it a little bit easier. And I can put in the edge of the shadow here of this building. You're getting a bit of sharpness in here like that. Okay, comes down. It's actually a little bit There's actually a lot of light running down the side of this building still. Okay. What I'm going to soften that off in a moment. This little lamp cut around that lamp. There you can still see these tiny little lamps. Alright? And apart from that, I'm just going to darken down some of these areas to get in an indication of this shadow. Okay. But, um, preserving the light on the left-hand side of the building, see here nice little sharp edge like that. Cut around that light there. And even inside the look inside the actual arch itself, there's a little bit of light in there, so I want to preserve some of that color around it. I think that kinda weird to the figure is just where the figures are. I'm going to bring that wash all the way down. There's actually a couple of figures, statues here as well. One statue there. I'm going to cut around the only so that I can remember to put it in later in a darker color. Using this flat brush all the way through. It might even be able to add some darker paint near the base if you want to really draw more attention to that area. And you've got over here, you can see this whole this wall really just runs all the way down. Good. Now I'm going to connect this onto this side of the building. Just a bit of warmer gray color as well. Okay. I'm going to just find a way to join this on. We've got a little bit of a warmer color because this building is not these two buildings here to the right and not exactly to lie. I mean, they've they're actually slightly darker even though they're yellow. And I can just soften off an area like that, just getting a little area of contrast. That's all. Here is basically where the starts, the the actual side of the bridge. Okay. So everything else here is just some warmer color, a little bit of gray, warmer gray color running through. We can also just leave in little highlights like that for potential windows and things as well. You don't have to color it all in. Okay. This is this actually should be quiet dark this rooftop there. Okay. I'm going to soften off this part like that. And if you have a little filbert brush, it makes it a lot easier. You can just soften off this edge so that it blends a bit better. And even a bit patchy. I think that would be nice to create some extra contrast. The side of the building, maybe blue in there as well. You have to do this stuff while the paint is still wet so that it blends appropriately together. Just going to bring this in, this part of the bridge to the left like that and bring that down to the ground there. You can see he's bringing that dark inside of that bridge down. The side of the building is in the light, so I don't need to touch that really. Just leave that. Even on the top here you will notice there are these little bits of the structure that darker at the top. So I can just add a touch of that color. Like that. He's soft Nano for touch. A lot of this stuff actually will getting in beginning in with a final wash. Later on, the final wash, but just a little final finishing touches. Okay. Good. I'm gonna go ahead and just continue to work on that one to the right. I'll use a small mop brush for it just so that it's quicker. This you can even just leaving parts of that building if you think that it helps create extra contrast, like tiny bits of the building like this, like for the, I don't know, some windows or something, but I'd blend it together. There's actually a building that two bit closer, but it just looks too too too out of place side of the bridge. All right. Thanks. Sure. That I've got enough of it in to run through the scene like that. It's just about connecting all these shapes up as well. Okay. What have we got here? This side of the roof again and the building. So I'm going to just get that in with the quick wash like that, cut around that statue, touch. Released figures out, just cut around them. This is just the drawer out again, a bit of light on that building. It'd be the light on that side of the building will darken this building and a little bit in the background to help bring out the details of the light. Soft and off. This will be more light on the left-hand side or just soften that as well. Kay? Darkness under the bridge as well. Now just get that in quickly. We'll go give it another go later on. But I just want to get in a nice joining on bit like that. Okay. Good, good, good. So I've got a bit of a light running all around, seen as a bit of light reflecting even off this building. Here. The rooftops a bit darker, so I can go in and just get in some of the little bits of darkness on the roof. And also maybe a bit of darkness in the background of these areas. This, I don't know, this silhouette of a building off in the distance. I can just use that to create a bit of cutting around. For the other bits and pieces in here, like that structure here, the shadows already on there. I don't think I need to do too much. Here. Darken down the rooftops a little bit cooler color, a bit more coolness down the side as well here near the foreground. Bring that, bring that down the page. And it will also leave a bit of the light here on the side of the building. Maybe just actually dial that down. A touch shouldn't be so obvious. Especially in this area behind the statue. That down, okay. It's this area that has a bit of extra light in it. Then the rest of it, I'm just going to grade down a bit here. So there's a little bit of that lab reflecting off the building like that. Even this building here, There's probably no need for me to just leave it completely white like that. I'm going to go over the top of it like this and leave a touch of it unpainted. This will just join the buildings on. So we've got this more organic looking shadow shape running through the entire scene. Here comes the bridge. Using a large mop brush for this. As it go roughly here. Moving in like that. Actually, I may need to expand this out of touch like that. Sometimes you just need to modify things here and there because we've changed the perspective slightly, have raised the horizon line. Okay, Good. So we've got all the shadows that are just blending together. They're mostly, not mostly, but they're all just mid tones. Okay, great. Now, one last thing I'm gonna do, a bit of water at the base for the figures so that I can get in some little reflections, little reflections of what's going on. So let's just spray this down a little bit. Realizing that probably some of it will spread from the from the, what you call it the sides of the bridge. And I'm just gonna pick up some purple and a bit of black. Let's drop in some quick little reflections for these figures. Just running down the page like this. Quick little reflections like that. Because that paint is still wet. It nicely joins onto the legs and creates this. You can see this downward sort of reflection. We can get a bit on for the buildings and things. So just in areas where you see maybe a bit of darkness above, try to reflect a bit of that darkness down. If it just blends in with this wall as well. I think it's kinda look better. And keeping in mind as well, the statues, lot of these statues is just gonna be dark afterwards anyway. I'm gonna get in a lot of little darker paint for them. But the important thing is also just to make sure you're leaving some of the the previous sort of yellowy wash on there. So it's not all the same color. If it's not dark enough, just make sure you get back in there again, you're using like a dry brush when you're doing this to you don't go in there with a really wet brush because it's going to cause some blooms. Can really just keep on doing this indefinitely until you're happy with how it looks. Some, a larger brush would be good, actually just the larger flat brush like this. Okay. It's tricky because it tends to dry a lot lighter as well. So you got to redo it quickly when you start seeing it dry, too light. At the same time, I'm also trying to darken a bit of the foreground just to make it, just, just to make it look a bit more three-dimensional, give it a bit more depth. If you've just got some darker colors here in the foreground, that's going to help to do that. Okay, as long as I've got myself, some of the shadows are the reflections, whatever of the figures I'm going to be happier, don't want there to be too much going on. That's a figure. I would just make sure I get their legs in so that I can quickly connect them to the shadow, to the reflection below. It's tricky. Trying to do this. You should go all the way down, all the way down the page and correct them and fiddle with them because the paper is still wet guys. You don't have to accept what what's on there until it's completely dried. You only got one shot at this. But while the paper is wet, do what you need to do. Just dark and the reflection a little bit for these statues only because I know they will be significantly darker later on. When I go through and add that final wash in the scene. So I want it to be the right value. I want the shadow to be the right value. And mind you, we can always feel around and play, play with a few things here or there. But if we get it in the first time round, it makes it makes it look a lot better. And then you can see here I'm just trying to get in a touch of the darkness of the wall, especially where the wall touches the ground. Picking up some black paint and I'm going in fairly, fairly dry with the brush so that it just doesn't spread too much. Let's give it a try. 59. Prague - Final Touches: Alright, so for this final stage, I'm gonna be using the smallest synthetic brushes, little round brush and a little flat brush. And we're gonna be using really the darkest bits of the paint. So it's again, I'm just going to mix up purple and black. And it's mostly paint, maybe 70 to 80 per cent paint. So I want to almost at the darkest points that you can get it. Okay? And what we're gonna do is just start putting in the final finishing touches. And one thing I've noticed is these statues, they do need some extra work on them. So I'm gonna go ahead and just paint some of these statues, especially this one here closer up and work on a little bit of the details of it. It's just a silhouette, remember, so we don't need to floss or anything, but at the same time I want to want to make sure I depicted accurately. So as you can see, it's pretty much the darkest area of the painting and there are still some lighter bits on it as well. So you can just leave out a little bit of light in bits and pieces. As you go. Imply what's, what's happening. Okay? And take a look here. This is this part here. Joins on, comes with a down. Mostly just a silhouette. I don't need to imply much in there. Brown, bit more brown actually. Like that. And it just joins on here. Okay. To the bottom of the bridge. And there's also a bit of this bottom part of the platform that it sits on as well, that needs to be incorporated in there. Okay. Here is that wall all the way back there and just need to really make sure I've got this wall in a bit better. Or at least a few little dry brush strokes running in here anyway, to indicate where it touches the ground, where it sort of finishes. That is even a couple of figures here in the background like this. These two little statues. We can just get in a little bit of darkness there for the statues like that. Darker actually has to be darker than the background. A little bit. This is the lamp. Another lamp here off in the distance. Can get in some little details for the lamp. Okay. Couple of like that. This one here as well. We can just get it in a bit of the details for it. And sum the intricate details inside the lamp that just kind of draw it in with the brush. That's all you're doing. Okay. That's that's good enough. There is a lamp here as well. I can barely see it, but it is off often the distance I can just put it in like that and always bring back bits of the yellow as well if it's too much. Okay. And again, just, I'm going to put in a little bit of color underneath, a little bit of darkness underneath to further bring out this bridge. It's actually. Not sharp enough. It's hard to see exactly what is happening down there. But this is why this little bit of dry brush I'm doing here makes it worthwhile. You can just feather in a little bit and slowly bring out details. Okay, good. The statues as well here look or we can just go in and start putting in a bit of the details. Essentially, like I said, it's just a silhouette. If you can get it all in one go. That's the ideal situation. Okay? Literally just sort of going off and seeing what I can get away with. In here. Here we go a little bit more detail on the sides of the buildings to get in tiny elements of shadows and bits and pieces. Okay, so e.g. here, I've noticed behind this building is actually it's actually a lot darker. So I can just go in and get that in with a quick wash. Like that. This is actually, this actually joins onto that building. So that's okay. Like that. Just mixing a bit of that cooler gray color. And you have it. What are these rooftops? Just do this one quickly. Dark of rooftop behind like that. You can also start to get in a little bit more of the details of the building. It's not necessary, but you see how you can cut around and imply that there's a little bit more of, a little bit more structure in detail to this C Look at that, just sort of cut into it like that and just give it a bit more. Styling, a stylistic sort of look. The architecture is actually quite tricky. This is just a quick way to do it. There's even, you can see here just these little marks across the page like this signifies the part of the building. There's these little bits here as well. They can be like Windows or whatever. You just put them on with the with the flat brush like this. That much that much modification at all. Just pick up that paint straight off the pallet and just drop it in. You can get in some little indications of these windows. Make sure you keep your brush is dry as possible as well for this so that it doesn't, we don't get too much spreading of the paint all over the place can be quite annoying if it starts going everywhere and you lose, you lose control over what's happening. Okay, Let's have a look. What else can we do like e.g. here I can just start putting in a few little bits and pieces. All the building, even like on the sides of the building, you can see this tiny little tiny little areas of it that just darker like that. Okay, and you can just imply this sort of effect. Connect it up. And I go back in again and get some of those darker sections in like that. And also the top part of the building you see here just leaves spires that go up into the sky. Use a good opportunity to work, work than the n quickly. Okay. There's even a little shadow here. I can barely see it, but I'll just put in something. They're little windows and little bits here that can be a little window. Here. Again, another window. I think there's probably something around the back there. I can't tell exactly, but, you know, there's a lot of little things going on in here. It's difficult to see exactly what is happening, but I can, I think the dry brush might be better for this just to indicate some details. But I don't want to I don't want it to overwhelm what's happening here. Whoops. More on the more on the actual bridge itself, the arch archway here. Just going to drop in a bit of paint around the edges. And this is going to bring out the light a lot more actually on the bridge. In the bridge actually there is a little bit more darkness in here, like in there. And then actually it goes a little more darker in here, but still very yellowy. So I can just imply touch that, just darken that down on the inside like that. Good yellowy color. That in there. Back to the purple and the black mixed together. Here's another, something I can bring out these buildings in the background, these tiny little windows off in the distance and some little work for the the tower, top parts of the towers or the domes like that. Okay. Separations and the buildings can help as well. It's all pretty much a lot of light back there, so there's not much I can do. But I can put in this building here, can just see the rooftop of a building or something coming across behind. And that will form a tiny bit of negative shape. Here for the the light side of the tower is putting some of these bits and pieces on top as well like that. That's okay. Getting a really light wash of something up here just to dirty it up a little bit. It's not actually that so much light in there. There's some little bits of gray into mixed with everything and just makes it look more natural. I think when you do this so that the light still sticks out, but yeah, you've got some darker bricks and stuff in there as well. I think that's important. Too much sharpness can just be a bit jarring. Okay, Let's have a look at this building. There's a bit of that. There are these couple of darker spots, windows and other dark spot here. We're just picking out really the the windows indicating them with dark, darkness in there. We drop that in quickly like that. Couple smaller structures or Windows like that up the top here as well. Now it becomes tricky to see exactly what we're painting, but that kinda looks like a shadow or something. Behind that. Also is a darker building which has just a little bit darker. So I can get in a touch of that shadow here, that there are more black as well for these little spires are points that go up. To the sky. And some of these, I'm actually going to get in with a touch of gouache as well. But just good to start off with something, an indication of something in their first maybe a touch of darkness underneath this building as well, something like that. A bit more darkness behind it and join up that darkness maybe with this shadow here. Small bits in pieces. I think this is a this is a statue I forgot to put in, just get that in quickly. At this building. The window here like that. Now the window behind and a window here. Just a little darkness underneath the rooftops. I'm going to darken these rooftops down a touch. Separate them from the sky a bit. But I still want it to be a quick wash like that. And some of the previous wash left there like a Buddhist of the visible light still on there. This is kinda like a completely horizontal line. Whoops, that bring that down, connected up. Again, I think another sharper, sharper thing like that would be good. That building still showing through that other wash. I can create some extra shadows. So just some indications of some shadows like that. A pretty light shadows but still can even do it here by getting a little bit of a something like this. Small little windows where we can put them in. A lot of stuff going on in the rooftops of this building. And I will just indicate like some tiny bits of darkness in here, but I don't want to do too much. I think it's just to kinda help balance out everything else. Even here you can see this like I mentioned before, this little buildings all the way in the background. Continue modifying and I'm going to add some more brown into the buildings. Touch a brown that in here. Width, re-wet some of that area and just feather, feather a bit of it in. I just get more darkness and also the brown and this significantly, I guess it's part of the scene to keep the color schemes exactly as they appear in the reference, but it is a bit warmer than what I've portrayed it. I'm going to actually go over this one as well to join it up a bit and create some more warmth. That left-hand side. This slide, slowly working your way through it and creating more detail. That's what brings your painting together. Once you've got all those larger washes in there, It's this little stuff, little bits of fixing up and modifying. Forgotten to put some windows here, I will just add someone saw this building that was wonky at the bottom. That looks better. Good. I'll add a touch more warmth from this building as well. Um, and finish that one off. The distance here. That up a little bit. More darkness up in there as well. You can see it's just a lot of this slow slow work starts to bring things together. I'll put on, let's put on some of the details for these figures or get the silhouette of these. It's pretty dark to see what's exactly going on. Maybe put a bit of red for the head of this one here to the right will be read. And for these ones to just a touch of red. I think there's one here as well. With these figures, we just want to make them pretty dark. I don't want to imply too much. We can actually get in some of the gouache, some gouache afterwards to further bring out the details of these figures. But for the time being, just focus on getting a quick little silhouette of them. As you can see. The legs, I'm just going to feather in the ground like this. Just a quick little something like that. There's one here as well. Look at that. Just head going forwards or something and a couple of legs like that. Quickly going through. I think these ones are gonna be interesting because they're more contrast it against the light in the background. So I want to make those pretty dark. And this one as well, we've got to make sure this one is kinda darker. The moving closer to the foreground, of course. Here's a lake and here's another leg. Here. Oops, too, too big, but we'll make do here. Another figure, perhaps walking to the right or something, or planning to walk towards the right. So just a bit of detail like that. Really just trying to further the brushstrokes in so that they don't overpower and blend in a little bit with these reflections in the ground as well. You can see little, few more, little finishing touches again with the with the darker paint. Okay. Give it a quick dry and some final touches with the gouache. I'm going to pick up that same little flat brush or a little round brushes. We're going to work well to K and it's getting a little bit of these highlights. Okay. I'm going over the shoulders of the figures like that. Um, this one here. A little bit of highlights, lighter highlights for some of these bits and pieces. Mix a bit of blue, cerulean blue in with the gouache. Get myself a touch of Bluish looking color. Maybe I can just feather bit of that into this figure. Tiny bit of that in for that figure. Just to put some color in there and keep it interesting. Bit more detail. Back to the gouache. And I'm also just use this to bring back some little highlights on the buildings. At the top. Here. Little bits here as well. Little touches of light. I'm mixing a bit of yellow so that I can just get the lamps is little color of the lamps in something like that. Because everything else is quite desaturated. So when you put in a bit of yellow, really pops out like that. See, you can also just bring out little highlights from the figures and bits and pieces from the, from the yellow reflected yellow of the lamps. Just, just mixing, mixing a little bit of yellow with the gouache makes it look a bit more interesting. And these little spots of color show up in areas on the buildings. On the statues on top of the this little side of the bridge as well. See, you can just get a bit of light running off in areas. Okay. Touch of that on there. More white lips coming up to the top of this building. He's spires that have extended up here as well, forgotten to get some of this stuff in. But these background bits and pieces, you can go here just dropping a few bits of gouache in there as well to lighten it up in areas. Create a bit of extra detail. We're done. 60. Burano - Drawing, Light: Alrighty, So this reference photo is a scene of Borodino. And I really liked this one because everything in the background is basically silhouette. You can see a whole bunch of colors here. But I want to simplify this down really so that it's just a lot of gray back there, perhaps a bit of light on the building right on the middle right-hand corner. But apart from that, I just want to highlight how simple it is to get the shape of these buildings in, make them look like buildings. Work on. Some of them went into wet. And also getting these figures beautiful, nice warm light here on the ground as well, just preserving that. So let's go ahead and get started on the drawing. And I'm going to firstly look at roughly where the buildings connect them with the ground and they're about here. There's a sliver this much. We have a look here. Probably. I mean, it's not even a quarter of the way we went to half of the ways that we could probably put in line about here. Okay. It's not a quarter, but just under a quarter of the way through the scene. You've got that in, and that's the most important part you need to estimate correctly. You've got figures, you've got people just walking around in here. But what we wanna do is getting these buildings in the background and notice how the building is also join on the right-hand side to the foreground, some figures and closer up figures. So hopefully we can get into some indication of these. Think is closer to us as well. So I want to work on firstly, this building here, and it goes up out here nearly half the way through the page, and then about a third of the way in. So let's have a look about a third of the way in here. A third of the way. So always look at the objects and figure out where they start based on basically the size of the paper. So you can see roughly goes in but half a wave, a little bit, little bit less than half of the way. And I don't have to worry about them because we know that it hits the ground. It's a little bit, we've got this interesting rooftop goes like this and comes down. Another thing that, that comes down again like this. There we have it side of the building and actually fair bit of it, it's just kinda cut off behind this building here, which is, let's have a look. And it goes, let me simplify this down. So this implies one down. I mean, so that one coming up like that like that roughly. Okay. It's like a couple of buildings, just a couple of couple of the MAC. The rooftop is, they're difficult to see the rooftop. But it has this sort of shape as you can see. Underneath, like that. Probably goes up a little bit more there. These are just two buildings. Will make them come all the way down to the ground like this. Notice how this line on the second building here finishes about halfway through the page. Again, we're using the paper and the guidelines, the natural guidelines of the paper to just help pinpoint where to put the objects. Very important thing to do. Okay, so here is another one. This is a little shade or something. Still. I'm putting this in. But whether I actually keep it or it just turns into a hole, simple shape, It's really up to you. I'm, I'm thinking I might actually simplify this down a bit more. Have some darkness underneath there. But a lot of this will just be one big shape. I'm just going to get all of us, all of it wet into wet. And then on the second wash, we can bring out some of the sharpness of the details. There's another one here. It's a simplified building. Really. There's like one that a lot of these buildings, they come in and they look so complicated. And I think at times you just have to simplify them down and find a way to just find the basic shapes that here you can see it's kind of like this. And see it's almost like a triangular shape here, comes up like that. That's like a roof part of this building. And then it just comes down like this. And we've got side of the building here. There's even a chimney there. It just pops right up here. And it's just a squarish shaped chimney. Could be important as well because we want wanna get in a bit more of this 3D shape on the left side of the chimney is helps to just basically make it look a bit more three-dimensional. That comes down again on the side of the house like that. We have it there. There. There. And we've got all this stuff in the foreground coming through. And actually the umbrella runs up to about the middle of the page here. Some kinda get it more of an angle at more of an angle here. These are kinda like the how would you call it like the little umbrella bits underneath like that. It will kind of umbrella frills. And behind there are more buildings and more bits of detail and things. This is actually some top of building there. They can't really see it, but there are some windows on here in the background and there's even some type of shade here. I didn't miss that out like that, just a little shade like that and another one even here like that. Some of these little bits are important because they bring out the lights of the scene. And especially when we want to imply extra details and the source of light, the direction where the light is coming in. Little things like that really, really help the buildings. There are actually little windows on it. I will not spend a whole lot of time doing this because my main goal here is just to get a silhouette of the buildings. This tower is well comes up here and she had forgotten, but there is a tiny little, um, there's another part of a building key actually kinda just goes off behind. Whoops. Just rub that out a bit. Like a slither of a building just running behind that house and down and there's like, looks like a chimney or something like that. Simple. But behind that is, of course, this large tower. And we want to also estimate roughly where does it finish? I'd say about here, there's a bit of room at the top of the paper, so I want to leave a bit of room up there. This is, again, just gonna be a silhouette, so I don't want to spend too much time on this. Here's a bit of this 3D sort of the tower like that as well. Finding ways to just simplify this down two guys. So bring that down like that. Okay. Probably the left-hand side here is just a bit too wide. Touch to touch too wide. I'm going to just work on this a little bit more like that. Tiny bit of that side of the building sticking out to the left. That the song is actually kind of tricky to draw because there's a lot more precision involved here. And here the base is, well, a little bit of this side of the building coming in. It's barely visible with soldiers can be a silhouette at the end of the day. But little separations help and just implying details in here. This is a capillary is little windows up the top. Okay. Let's have a look at down below. How can we get in? We've got so many figures. I mean, here in the foreground there's racks of clothing. It looks it's really hard to tell exactly what they are. They could be kind of like towels, rugs, racks of clothing. I'm not exactly sure what they all are, but this is an opportunity that I can use to get in some colors and imply that they are perhaps clothing or something like that. But we have figures. And this is different because we've got the figures up here. And you notice that their heads roughly just above the horizon line like here. But the figures here sitting down into their heads are going to be lower than the horizon line. And also they're gonna be larger because they're closer to the foreground. So always keep in mind in terms of perspective. In terms of perspective. What makes sense? That's kind of like a nose or something that figure the head side, side of the head there. He's an arm in the back of the clothing there. There's another figure here. Here with these head. I'm doing here. Heads like kinda off on a bit of a clunky might be eating something or whatever here. Okay. Now the person's head here. We've got another person here. Probably be more straightforward to draw the chin here. Some Sienese. Okay. There's another figure also here. They're all just sitting at this table. This one's too close, but they're all just sitting at the table together having nice lunch. We can get in more details because of course, the closer these figures, a closer table is actually further down. You can just see it come out like here. And there's a bit of darkness under the table. There's a person here as well. I'm just going to get a facing knows maybe in the math here and just the hair running behind. So it looks like a bunch of people just sitting together having a good chat, having good chat, and hanging out for lunch. Okay. Let's have a look. This one here is a bit, is a bit awkward, but can put an ear here, something like that. This figure, this person here. I'm just sort of closer. You can almost see a hand here. Just put in an indication of her hand. So very loose. Of course. I don't want to spend too much time doing this. Adding in these details. The table here, occasionally just running across. Joining up, joining up everyone. Okay, good. So there's a bit of a story here, but there's something going on. More figures. One, I'll get into some more figures here in the back and simplify these so far these down as you can see, some legs, sometimes some people walking off in the distance as well. They get smaller in the distance. Always remember, that's something you need to do. Make sure that figure is becomes smaller. Because if you make them too big, they're going to look like giants hanging around in the background. We don't want that cup with another figure here. Just correct the leg a bit. And there's a couple just walking here like these two is getting some hair there for that figure. Walking together. That lots of lots of stuff going on in here. It's really up to you how much detail you want to add in for the figures. This is interesting. There's like a little umbrella, Yeah, like that. I'm going to emphasize that more more a little bit more of an umbrella. Okay. Stem of the umbrella there as well. Figures sometimes in down and stuff, but that's just more of a quick, quick thing that we can add in there. Like how these two almost look like they could be conversing are talking about something. So I can hand moving up or something like that. But I think this is a good start withdrawing. Good plan. We can now go ahead and get in some color. So first thing I'm gonna do is work on the sky. I'm just going to put in a nice light wash of cerulean blue. Very light wash of cerulean blue starting rod out at the top. It's mostly just water, 90% water. And moving down, I'll cut around also the tower. Very important to cut around the buildings because we don't want any blue really in the not yet anyway, Once we need to put in firstly a warmer wash of coloring. So this is just to get a bit of that sky in not too much detail. Just a little bit of cutting around the buildings. Don't need to be pedantic about it because some of it's going to mix in any way into the buildings. I don't want it to be too sharp. That's a thing that you gotta be careful of as well. The board is a two shot between everything. It just looks it looks unnatural. So what I mean by that is, you notice here look, it's just kind of wet all over and all the areas. So I might want to go in and add some color now to the building. Before I do that, I'm going to pick up a touch of purple. And I want to drop in some, something into the sky, maybe with some neutral tint as well. Just a little bit of a cloud and indication of a cloud or something here. I'll just change up the sky a little bit, make it look more interesting than just soft clouds. I don't want them to be too dark, but the ones at the top tend to be a lot larger. So then you can drop in some small ones here. And then it starts to make sense. Something like that is fine. So I want to go into the building. This is just some burnt sienna. I think that's just a really warm color. I've also got some normal brown here. Then I can mix in just some raw amber. Ok. And we'll bring that down and look what happens. It sort of. Some of it goes into the sky wash, but I don't want too much of it to go in there, so I'm just cutting around a bit. Some of it will go in the game, but don't worry yourself, just continue on. We just want to get a quick wash of color in there. It's all we want. Quick wash of color as you move down the page becomes a bit easier because there's nothing really touching the sky. But further down. Look at this. We've got a bit of orange that's printed in orange here. And here. She opportunity to get into some, some quick little colors. Here. I'm just gonna put in some yellow ocher for this building here. But if you a little bit of brown underneath, there we go. All I'm doing is just putting in some of these warm colors and make them do the thing. Not concerned about accuracy here. Here I've got a little bit of this buff titanium. It's kind of a whitish color. I'm going to drop that in and leave this umbrella out. Getting maximum contrast for that umbrella. Really what we're doing is we're putting in a nice warm wash of color. Very, very light as well. You're talking I'm talking basically, most of it's just water. 2010, 20% paint is the max you want to use here. Put in some colors as well. This is some vibrant orange I've just gotten here. Some of these buildings have notice that just got more orangey kind of filtering. It's on here, it's just move on to the right-hand side. Down here, cutting around some of these shades as well, these white parts of the building. This is actually funny because we've got some blue in here. So I just put of ultramarine just to cool it down. A dull it down a bit. I'll add in some black in that area, so it just becomes a cooler, cooler, bluey color. Up the top here. I'm just going to blend that in like that. I'll probably darken that a bit more later on. As we come down further to the front of the scene, I'm just picking up more of this buff titanium color, which is again just a off-white color. You can mix these up yourself even if you've just got some gray, just dilute that gray down. Should be sufficient. Okay. I'm just trying to get in a nice neutral wash of color. The k has a bit of warmth to it, but it's mostly this off-white color. And you'll notice like all the figures here, everything here is has this grayish light, grayish tinge to it. It's not much saturation or detail in there at all. Okay. Good. So that's about it for now. I'm gonna go and give it a quick dry. 61. Burano - Dark: Hello again In this second wash. And like I mentioned, most of this is just gonna be a grayish or dulled down color. To mix that, you have a few options. You can mix a bit of brown with ultramarine blue. Okay, That gets you a nice neutral color. So raw umber. If you've got a bit of raw umber or burnt umber and a bit of ultramarine That works quite well to get in a grayish color mixing something like that up here on the side. Okay, so that's one example. Another thing you can do is mix up a bit of the three primary. See blue and your red and your yellow does the same sort of thing. What I tend to do nowadays is I have my own pre-mixed gray. This is a bit of Payne's gray here. And neutral tint works well to also got a bit of lunar black on the side. And what I'm doing is I'm just mixing myself up a neutral color, a bit of red in there, tiny bit of red. Just warm that up. So I've just got a gray color. And on the side you can see I've also got some blue bluish gray here. Good. Because you want to alternate the gray so that you don't have the same gray running through absolutely everything. It's always it's always tricky. Okay. Good. So you're talking about a mixture of 50%, 50% water. And I'm going to actually use a more darker one up the top here with a more brown in it. Remember, we're doing this all in one wash coming down. Look at that which is going to get in this side of the tower. Coming down. And look, I'm trying to do this quickly, but at least with some conviction in my brushstrokes here. Okay, there, look at that just a bit of this and you can leave out a touch of the previous wash as well, like what I'm doing here, getting little highlights on the building. Okay. But mostly you just want to polymers even. Look at that. I'm using the paint quite thick on here as well, so that it doesn't run. Just does the job gets in there, stays where it's meant to stay and bringing this down. Okay. Look at that. And you notice look, I'm just leaving again, some little highlights, little yellow highlights and areas as well. Not all over the place, but just in parts. To keep it looking interesting. We want it significantly darker than the sky. Okay, there we go. We brought that all the way down into the foreground. Now, sorry, the midground buildings. Okay. Let's have a look. Let's work on these ones now. The rooftop here, I think this needs to have some type of sharp shadow, just like the reference indicates. Sharper sort of shadow if I accidentally gone too far up to the sky like this. Okay. How it just cuts over the top of that building, forms a nice sharp shadow. And also underneath the building here you've got a bit of shadow. Okay. Let's be the shadow. Putting a bit more here and here. Bit more here. There we go. That just becomes a darker shadow forming on top of this building. I'm going to try not to fiddle too much around with it as well. You can. If you're not careful, I find starts looking unnatural when you do too much. Coming down. And I can see here underneath, you know, you've got this brownie color. I'm mixing a bit touch of blue into it as well just to get in a little more coolness. Okay, That's why I love having different kinds of colors in here. Different kinds of grace. Because when you mix the mean, you can get these beautiful blends just happening on the paper. Okay. Coming down here, I've haven't had a really remix anything. Just pick it up straight off the page. The palette, sorry, like that. Look and I'm just cutting around here the figures as well. Okay. I might actually mix up a little bit more blue and purple here just to more corners. Okay? The big thing for me is just making sure that I've got this all these buildings. One big sort of silhouette. And cutting around these shades as well. Doesn't have to be perfect. It doesn't have to be perfect, but it does have to look intentional. Your brushstrokes have to look intentional, like this, like deliberate. Even if they're not perfect. There's a lot of colors in these buildings, a lot going on. But notice how I'm just simplifying down everything. Here. You can see this building coming up like that, enjoining onto the tower a little there. This is just one color. Okay. Here's where I might want to exaggerate something. So this could be a bit of darkness here for this building or the rooftop. But I could leave the right-hand side exposed a bit more to create generate more lights, make it look like there's more light on that side of the building. Okay. Is is kind of the building sticking out here in front? I can just play around with that and just get this better, better sort of side of the building like that. There I can start putting in the side of this building like this. And again, just play around with the light that could be reflecting off parts of that roof here. And on the side of this roof here, that could be some light here on that side of the roof. And not only that, but this building, we could have more light running off hitting the side of this building. Okay. Bring that all the way down to the figures. The figures might just actually soften this a bit. And just soften, add a bit of water in there. That blue gonna get in at touch of this shadow here on the side of the chimney or whatever you call it there. Look at that. Just running down the side of the house. Easy. So it seems looking around. What else we can add on here. Okay. That's looking, I think that's looking decent for those background buildings. I'm going to just work on these spirit of the umbrella, this shade here. This is going to be again, one large shape, okay. Running down in the foreground and I'm cooling it down and also darkening this touch so I can get extra contrast. Make it come forward little bit. Darker. Buildings here in the background. Just soften this off the beaten add-on, a bit of water there. Okay. And again, all you have here is just all this bits and pieces of the fabric and everything. It doesn't matter exactly what it is. I just want to create a shape. Basic shape coming through here. Connecting on, connecting the buildings on the foreground a bit. Usability is funny. Off white color as well. Sometimes pick up red and a bit of white, mix those together and we get a nice colorful face. You can also mix in a bit of brown if you'd like. It's up to you. Just a quick little indication there of the faces of the figures. Okay. Good. I'm gonna get in a little shadow across the ground though. So for some of these buildings, and you can see that they just sort of stretched towards the left like this and cut through the center of some of these figures. Okay, So mostly these buildings here in the back that you need to do, you can see that shadow. The shadow is just run towards the left side of the scene. Connecting on with the figures and in the middle of them anyway, like that. You can even emphasize a bit more, have them, have the shadows come off on more of a tangent. As you can see, what I'm doing here, just a bit more of a, of an angle, sharper angle. In the reference photo, they going off more on a more of a horizontal angle. Notice everything just joins on with each other. In the shadows, join on with everything. Okay. Still this is still the second wash. We've got more to come. More to come. I'm going to get in a bit of darkness where the hair and things like that for these figures. Okay, and again, it's not to detail much, it's just adding a bit of darkness in here. And because it's so dark in here, it's very difficult to tell what color the hair everyone has, but you can put in a bit of new indications like this lady look like she's got some kind of windy looking here. This one he used well but D saturated. So I've put in some, some gray first and then I'll add in the color there. Like that. You might play with a bit of brown, for instance, for this lady here. So a lot of wet-in-wet work and not not much detail at all. Just a bit of wet and wet work. There's actually a lot of this stuff. A lot of this stuff is just is just gray. It's gray colors in here. You're bringing out details of the figures in there, but really, at the end of the day, we're just indicating. Okay. Good. Let me just join up this table as well. Nice light wash of color. It's not even any specific colleges to be gray. And you can see all the figures and everyone off in the background. And here's your opportunity. I mean, I just pick up a bit of neutral tint straight off. And it's quite a dark neutral tint. And I'm going to go in and getting some colors, some details for the legs of the figures. So this one here, having a look at the reference, we can see it's kind of just coming down like that. And the other one, Let's have a look like that. You can simplify them down. You don't need to detail much, just use a sharp edged brush. I mean, it can be something like a flat brush like what I'm using now it just be a normal round brush. Round brushes tend to be what people usually use. I've started to actually flip and change too, to flat brushes recently. Just like the shape that it makes, seems to be more irregular at times. I don't mind that. There's a couple there. You don't need to connect up all the legs as well. You can just have them skip over the edge like that. Okay. There's another figure walking in the shadow like that. Okay. Dropping a bit of water and that's getting a soft shadow running to the left-hand side on an angle. Just join them up. Just a bit of little shadow just joining up the figure on the ground. These figures on the ground, like that, running off to the left on a basic angle. One here is well, maybe like that. Simple, simple little things. Okay, Got it could be another one. Another one here in the distance as well. Implying stuff that's there up to you, whether you want to put any colors and things for the shirts and clothing as well, we fit for me. I like to drop in a touch of color. In areas like the left-hand side. I'll leave the right-hand side exposed to emphasize that feeling of light. But for instance here I might think, hey, this person might look nice wearing a bit of a cooler shirt, cola colored shirt. So adding a touch of that in there like that. Okay. This person here on the right-hand side, I'll just dial it down and add on something like this just to be pink or something. Warm. Woman color. Lift off some of that paint. Such a touch of color running through there, something. Okay. What else do we have? Got a few more figures here in the distance. These two figures as well, just having a bit of a chat there. Okay. Good. I have noticed that there is a shadow just joining here on the ground as well, just the tables and things like that. There. I'm going to go in and add in some more of this darkness into this area while it's still wet. Even in the background of this figure, there is a shadow cast by the buildings. So there's not really any light behind. Simplify. Simplify this down. Touch a blue back here. Right? Let's give this a quick dry. 62. Burano - Final Touches: Okay, time for the final little details. I'm going to pick up some neutral tint. You in the palette. Just darker color, dry off that brush. And it's just touching go from this point onwards to get into some final bits of darkness. So start off here on the, on the tower. So probably a little bit underneath here would be good. Underneath the triangular part and I can just outline the triangular bit as well a little like that. Okay. It's, I find that this little dry brush that you add on at the end brings everything together. And you just have to use it very sparingly. It's kinda like detailing really. You just detailing with the brush. While we say drawing is so important because you end up having to do the same thing with the brush anyway. But the trick is you applied on quickly and then you just let go. You don't hang around there for too long and try to detail everything because it starts to look overworked. Coupled windows like that. It's tricky to find that balance side, that nova side here. And then just finding ways to simplify this down. Little details in there without going overboard. Okay. Something connecting up to the sky, these little the top of the tower like that. We are potent that you dry the brush off a little bit as well. First, here I'm just going to add in a little bit of darkness on that building. All this is I say this just touched and go type of work. There's something here you can see these sort of, it's like a little window here, funny shaped window. It's just something like that. Not much at all. Touch of shadow, extra shadow underneath here. Third one, I'll just emphasize a bit of that. Not only that, but also here like that. Um, it's kinda tricky with the sides of these buildings, but you can get inability. Outline of the roof like that. I mean, you can even see some little windows behind something like that as well. Less is more, in this case, this is definitely more underneath here as well. You might find, I see anyway that there's extra contrast. So I'm going to have a go at that, just adding more darkness here. Underneath. The advantage of this is also you can cut around these figures and make them pop out more. But like I said, I'd just like to do this touch and go thing. Not too much time in there. Can even just spray it a little bit. To encourage it to move slightly, just blend in better. Here's some windows to separation between these two buildings here there's like a couple of windows or more than a couple of hours, a few windows and you just drew room in. Just like that. More here. Here's one on this side of the building. And I don't want to make them look exactly like the reference photo as well, because I'm gonna be doing that. I'm going to be trying to make that look like a window for too long and it's going to disrupt the flow of the scene. Here, I've just tried to add in a bit of dark color around the edge of that figure. Okay. What else do we have? Little bit of this darkness up here for this umbrella. Here we can put in a better color hair color for the figure, like this one here in the front, just a bit of darker color for the hair. I've just picked up some brown. This is the point we just detailing. You're not I'm not trying to put in too much in there, but same time. You want to make sure that anything that you might have missed out or not implied enough is present here. Everything here is actually pretty dark. In the foreground. Figures, these figures just sort of sitting around and you can see just some of their clothes and things like that as well. Just blend on, melt into things and I can pick up liabilities. This is some cerulean blue. Or I can mix with some gouache. And getting this denim and a collared shirt that these ladies wearing. I mean, you can't really see it. But there's just a touch of corners in there, something like that. Okay. And also this lady, she's wearing some other shirt on there. Okay. I'm getting some new features for their faces as well. Let me just quickly getting some little bit. Not much, but to see These two are just sitting closer. And this lady here is wearing some darker glasses. Glasses. The hair brown hair depends how long you mean you can spend a lot more time on these. But for me it's just I just want to imply what's happening in there, not sit here all day. You can also see underneath the table here There's actually a really sharp line and dark, darkness under this. I can just blend that on that and create a bit of contrast like that on the table. And this is just a bit of drawing that I'm trying to do as well with the brush. Outline, the table, the touch like that. Can do it for things out at the back. At this dislike, it'd be umbrella as well. You can just do something like that. Little umbrella here. Put on a few little birds off in the distance. Maybe just a few up the top here. New tower. A few more further down. To spread out of touch. A touch of white gouache. Finish this off. Bring out some highlights. Some of the heads of the figures in the shoulder, the back of the figure as well. We can get in like that. Just a quick indication like that. Little bit of blue in it. If the gouache mix together sometimes helps if I just drop in a bit underneath the buildings and these dark areas. Just to create some interests, areas of interest in the buildings. The frames as well have, some of the frames of these windows have little bits of white in them. You can just drop in a bit of a little color like that. That's finished.