Mastering Watercolor: The Basics of Loose Painting

1. Introduction: Hi and welcome to the thrilling and captivating world of watercolor painting. As a beginner, mastering the art of creating a loose yet accurate landscape can feel overwhelming and daunting. Where do you start? What techniques you use? How do you bring your vision to life on paper? In mastering watercolor, the basics of loose painting, you discover all these central processes and techniques. You need to turn any photograph into a stunning, an impressionistic landscape. With my guidance, you will learn how to create a masterpiece that not only captures the essence of the scene, but also showcase your unique creative style. Throughout this class, you explore eight breathtaking landscapes from around the world. And I'll take you on a journey to recreate each one step-by-step. I'll demonstrate my entire process in real time. From initial drawing and composition of the scene to the careful layering of light and shadows. And finally, to the addition of details and highlights. You'll be able to watch as your paintings come to life and your skills improve with each passing lesson. Join me on this exhilarating adventure into the world of watercolors. And you will learn how to create or inspiring landscapes with ease and precision with a urine experienced artist or a curious beginner. This class will equip you with the tools and techniques to unlock your phone creative potential. I'm excited to get started. So I'll see you in this class. 2. Materials Required: Alrighty. So before we actually start with this class, I want to go through the basic materials that I'm using. This is going to help you to get a good head start and set you up for success when you'd completing these landscapes. And it's really important to have good artists materials if you're able to get them. And the ones that are always recommend starting with paper is 100% cotton watercolor paper. This paper is slightly textured. It's a medium or cold press texture. And I recommend that for these particular urban landscapes, general leucine is because it allows you to get in some nice wet in wet effects as you see up here, that blends just look a lot nicer, seamless if you're using hot press paper, I find that it just dries a little bit with puddles and areas. It's not as consistent and it's a little bit harder as well to get a nice flat wash. All the paper, as you can see in the scenes in this class, they're all pretty much just this textured paper. Now, if you don't have 100% cotton paper, you can use cellulose paper, just try to make sure that it has a medium texture to it as well. That's definitely going to make your life a lot easier. So let's talk a little bit about the brushes that I'm using for this class. And in terms of your main brushes, what you want to make sure you have a bunch of these ones here. These are watercolor brushes, as you can see. They have a sharp tip for cutting around shapes, but they also have a large belly on each of the metal hours, each brush to pick up a lot of water and be able to carry through large washes whilst still cutting around different objects. So these are really important that your quintessential watercolor brushes. There's also a few of the brushes that I use from time to time. And they do help out with this class. Now there's only a couple I think, that are important that we'll discuss. So these here are just some round brushes. They synthetic round brushes. This is, I think a number eight. This one I believe is a number three, the numbers rubbed off, but they're just round synthetic brushes. And I use these for getting in little details of the figures, the power lines or details of the windows, that kind of thing. And you can see here also with this flat brush, It's the same sort of deal. I use that to get in the shapes of the windows and also details of the shadows and the figures. So smaller brushes will really help with that. And especially the smallest synthetic brushes. Okay, So that's pretty much it in terms of those brushes. Now, I want to talk a bit about paints. Now, as you can see here, this is my palette and it is pretty messy, all kinds of stuff going on in here. But I'll talk you through the colors that I use and how I organize my palette. You don't have to have yours this way. In fact, if you only have about three colors, your primary colors, a subdued yellow ocher, a permanent red, and ultramarine blue. You're gonna be completely fine. You can paint pretty much everything in this class anyhow, but I'll go through all the different colors in case you want to get the exact same ones that I'm using. So over here, I've got a Quinacridone yellow in here. It's a bit difficult to see, but of Hansa yellow, which is more vibrant yellow. So these are more, more vibrant, saturated yellows. Here I've got a yellow ocher, which is a desaturated yellow. It's kinda like an Earth and yellow color. I like that when I'm painting areas that I don't want to draw too much attention to, but I still want it to look yellowish. I've got a pyro orange over here. I've got a Quinacridone, orange, permanent red or pyro read as well, works pretty well. I've got this color here called Buff Titanium, which is kind of off white color. Over here. We're moving over to cerulean blue. I've got this color here, which isn't really necessary. It's lavender. Over here is turquoise. These two had just some lighter, cooler colors that I have, but really this cerulean blue is the one I probably recommend out of the three, I've got a bit of ultramarine blue, which serves is just my darker blue here, a couple of brown. This here is burnt sienna, and this here is burnt umber or raw amber. That works pretty well as a darker brown, light brown, dark brown. And pretty much all these colors here are just purples. I love using purples for my shadows. And I've also got a little bit of neutral tint here on my palette. I just squeezed out a little bit of paint here and there, a little bit of green, dark green here. You can use hookers, green, you can use olive green. I've got a green code. Undersea greens are granulating green. I've got another brand here, which is pretty similar to the burnt umber there, but this is just granulated bit better and I've got a bit of black, but probably not going to have all these colors. So I'd recommend you picking up a yellow ocher, bit of this red here. So permanent red or pyro red is good. And a bit of this ultramarine blue from those, you can mix those colors together, actually get a pretty dark color as well, similar to this neutral tint there. If you've managed to get yourself a bit cerulean blue, that's going to make your life a bit easier as well. You can also mix up your greens as well with the yellow and the blue, so there's no issues with that. So another little bonus as well. If you've got a tube of white gouache, I use this all the time to bring out some highlights at the end doesn't cost very much. A few dollars depending on where you're situated around the world. But Sam, as you can see here, squeeze little bit out in the palette and I'm mixing it in with my normal watercolors and it helps me to get in some lighter colors, lots of highlights that I can finish off a painting. 3. Paris: Drawing: Alright, so we're gonna get started on this scene here. She quite excited to go in with the drawing, and this is a scene that I actually took a photograph. This when I was in Paris a few years ago. And I remember looking at the sky and looking at the clouds. I think that this is just terrible, is no sun or anything like that. And one of the most important thing to do is often just modifying that reference photo, creating a different composition as a painting because there's not enough shadows in them, but we can work with what we have and create something a lot better. Let's firstly go in and put in the horizon lines suggest where the buildings at the back end, even the ones at the front. I mean, if you have a look at just the base and buildings, you see that it runs I mean, I wouldn't say it's a quarter of the way through the scene, but almost a quarter of the way. So I can actually move it shifted up a little bit, so roughly about here. Okay. I'm just going to draw in a rough guide like that. Okay. From here, what we are going to do is put in firstly, the buildings. And what I'll do is I want to get in these large building at the front. And you can see the center of the building right here. It's right in the center of the page. Just marking out, I think I'll mark that out first, this front side of the building. Very basic little bit here. And then we're going to go in a bit of the rooftop. Okay. So I'm just putting in some small details at first now, it's probably going to change a little bit. But this is just to get started. Now through the center of the page about here, center, center wise, you can see the building kind of finishes off about there. So I can put a mark there and then just start drawing my way across like that. Okay. So that way we have the general side of that building and it's actually going to go up more as well down the side of this building here. I'm actually going to try to get in more, little bit more of the side, like kind of just exposed more than what the photograph looks like. So you can only see more of like a slither in the photograph. But I want to just imply that there's maybe a little bit more dimensionality back there. And you can see all the way back in the distance as well, these smaller buildings that just taper off at the back. Okay, now you've got these buildings on the right hand side. And this is the interesting part because they're all joined together at the end of the day. And again, they just come up like that and then just exit out the side of the scene all the way up there. And there's quite a okay. So the way I do it is just making sure I've got some real basic lines put in there first and then I'll detail around those lines. And what we can do as well is that this bottom part of the building, I really like the shader. I love these shades in this kind of orange, red color. The base, I think looks quite beautiful. Wind exciting actually. So I'm going to just put in some indication of these shades first like that. And this is just going to give me a little indication later to make sure I leave that out. Leave that out for the red or I can probably go in there with the red first. And then the bottom here, there's the base and this bits and pieces, all kinds of stuff in there. It's not a huge deal. Just this nice little red shade that I think is really important. These buildings here on the right-hand side, I'm going to get in a bit of dimensionality. So this one here all the way in the back you can see what if the edge of the building like that, it just boxes. Just think of them as little boxes. Here we go. There's another one. Like that. Little box on the side. As we go in late, I'm going to actually detail with the brush just a bit more of the tops of the buildings and that kind of thing. But for the time being, this will do. And what we're gonna do as well as get a nice shadow going on as well on the buildings to the right. Sort of cost from this larger one to the left. Okay. Let's go ahead and pencil this one in here as well. Okay, that's a side of that building like that there. And then you've got this really large one that just comes through the scene. What that doesn't have to be perfect. It doesn't have to be exactly as per the reference photo. A lot of this stuff I'm I'm just wanting to reduce that down actually to some simple kind of details later. I don't want to spend too much time in here. Okay. Alright, we will work on this as we go and see on top of the buildings of these little bits of chimneys and things like that on there as well. But apart from that, you've got these tiny little windows just run vertically like that. I can just put in pencil in. You can see even here, on this side of the building here you've got some windows there as well. A lot of this stuff can just be simplified down a bit afterwards, these little road signs there. Let's start working a bit on this building here. This one to the left. Do like these lamps as well running down the street. And let's refine this a bit more. I've have actually chop this building down a little bit. I don't want it to go too far up that top part of the roof, then it's like a little window here or something like that as well. There there's this secondary part here, like that. This top part of the building, they're good. And I can just bring that across like that. Yeah. This is, uh, this is one part of the whole building. You can see it just ends just where the shades, these shades finish off about here. Okay. So we can cut that off like that. Get this top part of this roof section as well in here. There we are. I do think that should be a little bit less, perhaps reduce that down a touch like that. Now we've got how many? He's quite a few. There's a row of windows, they're there, and then there's about 44 rows, so 1234. So there's a window there, there's a window here, window here. And notice how quick I'm just I'm just penciling it in to put the rough location of those windows because I want to let the brush, brush do most of the work. This is just a quick little sketch so that I know where to go in roughly. The base these buildings, they get a lot smaller at the back of this bits that stick out, shot parts of the shock front, that kind of thing as well. Okay. I don't want to make these buildings all the way back here to detailed at all. I, you know, I'm actually wanting to reduce down and simplify them a fair bit and hope that they just melt into the background more. Okay. They just need to follow that same kind of perspective. These lines need to run in the same direction where the windows are underneath and this kind of bits of darkness as well. Okay, so you're gonna get a lot of light reflected on the left side of the buildings. Then you're gonna get darkness here and then shadow on the buildings to the right. Decided already that the light source comes to the left. Let's get in a car and we'll put in this one here, this one right at the front. Like that. Kinda like a logical look at how it just comes out nicely like that. Simplify that down. It looks like a nice sort of modern card is not much detail. You need to add in for this one, a couple of wheels at the base, and that's the front part of the car. It could be going towards us even it's quite a large car by May, or making it large anyway, into the foreground. It could be a taxi. We add the window there. And then we have it. We've got a car in the foreground and there's another one actually here as well. Can just go ahead and indicate this one. And here's a wheel at the front there and another wheel here at the back. Okay. I'm not trying to overthink it as well. Just let just let yourself carry that pencil through and kind of almost try not to lift the pencil from the page at times that actually makes your painting and your drawing look a lot more looser. Flow better. Okay. Here you've got the window of the car or something like that. They're in There's all these little lamp posts and things off in the distance. We can fix those up later and put them in later on. But the big thing is just making sure that there are some cars coming through here. And not only that I want to put in, I want to put in some people just getting a larger person maybe just going in, walking into the scene like that. Okay. I really got the legs sorted, but we'll figure that out later. Okay. He's another person maybe off here. The way I do it as I make the heads lineup roughly in the same spot. Okay. Look at that. They're just roughly around the same spot. But what you find is that the ones in the foreground, that people in the foreground are going to have large bodies is going to be larger in the foreground. As you move into the background, the heads in the bodies becomes smaller. That's how you imply distance. It could be a person here just behind that car or even here. Here. You don't need to really detail too much. You just sort of putting in some basic figures. And so much, so many people here that some of them are just walking through. They form like a big crowd. Someone here with a cap or something as well. There. And this part here in the foreground, i'd, I want to make sure that their legs aren't really included. Just the body's like a shape of the bodies together, like that, just to clump of people. We will change it up in detail afterwards. But at the moment, I think we've got a really good composition to go by. So let's, let's go ahead and get started with the painting. 4. Paris: Lights: Alright, so I'm going to be using a mop brushes, large mop brush because paper I'm using is pretty large as well. In the first color that I want to put in here is basically bit for the sky. I will start off. And I've got the paper just slanted very, very slightly so that the water runs down the page a bit. And I'm going to pick up basically a bit of cerulean blue mixed in with whatever I have in the palette. Really good grayish color right here. But I just wanted to double that blue down a bit. Okay. Let's try that in the sky. And most of this is water. I'm talking about she's talking about 90% water. So just running through the scene and not really getting too bogged down. Dropping that paint comes across like that. Okay. And coming down as well here, you can notice there's a little bit of blue. There's a nice bluish tinge to it, but then there's also a bit of character, bit of grayish color there in the sky. I do want to brighten it up a bit more so that it doesn't look, so it doesn't look so gloomy as it does in the reference photo. But just a simple thing like that. Okay? And another thing you can do is if you want to put in some more, some clouds or something, I can pick up a bit of purple and just dropping a bit of this grayish purple color for a cloud or something like that back there. Okay. Just drop that in and let it let it do its thing. Okay. Of course, ongoing with fairly fairly lighter paint, but the paint is of course a little bit more concentrated than what we have on the on the paper, the papers, the paint at the top is very, very watery at 90% payment that was dropped in a little bit, tiny little bit of that darker paint. Okay. Let's get in some warmth on buildings, I just need to get in a bit of yellow or something like that on the building. So bit of yellow ocher and I'm mixing this up here on my palette. A little bit of yellow ochre. Drop that in and see how it looks. I'm going to mix a bit of gray into it, a little bit of gray into that yellow ocher. And the gray is just from the previous colors that I've left on my palette to just mix that up. I don't want it to be too vibrant. I hopefully actually want to save that for the really big contrast. And the one I'm thinking about, that nice sort of orangey red colors we can see. I'm going to swap over to a smaller mop brush that one's getting too big to handle and getting details. So it looks just cutting around this little, which you call it little shade. I've actually got a bit of color in there already accidentally, but that doesn't matter. We're going to cut around it a second time anyhow. But I'm trying to get it to blend a little bit on with the sky and a bit, a bit of ultramarine blue up the top as well because it is kind of cooler at the top. If you notice just the top part of that building, there is some coolness up there on the rooftops. So putting a bit of blue, bit of ultramarine blue into the gray to encourage it to mix around a little bit like that. Maybe a little bit here on the right-hand side as well like that. Any kind of mixing and interesting sort of stuff like this that happens on the palette, happens on the paper, sorry, is preferable my opinion. Because you get this amazing magical kind of mixing that you can't otherwise get. Okay, it's unpredictable. But when it dries, it just looks fantastic. Okay, so just going over, look at that, just cutting around bits and pieces. And you can actually see some colors and stuff in there as well down the base of the building. Okay. Let's go have a look at this one here. We do want to put in some more of this kind of yellowish paints as well like that. To start with the yellow first and the grayish yellowish, greenish yellow first because this will be much easier to preserve doing it this way, we much easier to preserve those warmer colors once I drop in the blue, it does tend to spread out quite a bit. So that's why I will. Work on a lot of the warmer colors first, if possible. Just makes things much easier. Bit more yellow. Okay? Because we haven't used so much vibrancy. Notice that I've put in a bit more yellow on that right side of the building and it's really standing out that could indicate that a sunlight hitting that building. And just as much I can pick a pickup bit of more vibrant yellow. Notice I'm just dropping it in the yellow ocher and a bit of hands-on. I'm just dropping it in on the side of the building here. To imply same sort of thing. This bit of golden light hitting the side of that building. But of course I've got other colors running through it as well. So it's not completely saturated. And looking at a place, okay, let's pick up. Just being a bit more of that blue, drops them into the rooftop of touch like this again, I'm going to have to probably have to go over the rooftop One more time afterwards, but this is gonna be good place to start. Let's get some mix up a bit of red with a bit of orange to get a very vibrant red and pyrrole orange. Very, very strong red color running through, reddish orange color, that juicy red. And that can just be all that stuff here. Were. Figure it out later as we go. In terms of cutting around it. Because we'll get into some more little bit more color underneath and around as well. I'm going to pick up bit of blue, bit of ultramarine blue and just mix that in to have a darker grayish color. And I'm just going to cut around this, touch like that. And bring bring a bit of these corners down the page. A bit more blue. Just indicates some darkness at the base of the buildings. Will have to redo this though. It's not really as dark as I want it yet. Okay. This will get us started. Okay. Now the ground I will put in a bit of yellow ocher and w that gray. Okay, Look at that. Look how I am just cutting around the figures and joining, joining all the washes onto each other. I think that's a really important thing to do. Okay. Here's a few figures and things as well. I mean, you can even put in some colors with them. Bit of turquoise color here. That turquoise, a bit of brown or something for this one here. And notice how they just pop out a lot more because we haven't used too many vibrant colors for the background, maybe just for that one there, that red. But apart from that, notice how that the, the most vibrant, saturated areas where we're using almost unmixed color, slightly mixed color tend to draw the viewer's attention. Let's move this across. Just get this ground in. Noise. Just a nice quick wash of this yellowy gray color running across the scene like that. Okay. What have we got here? We've got a car here as well. Maybe just put in a bit of light cooler color in it. Just a quick bit of a dash of turquoise or something like that in here. And we will actually have to darken off the right-hand side of the car touch as well. It's a bit more darkness there right-hand side of the car, but leave a lot of that too later on. Don't wanna get too bogged down. But I think a little bit of this bluish color is good because it helps too. I know just helps to add in a bit of contrast and a bit of that complimentary color to all this yellow makes it look more interesting if you've gotten some of that in there. Okay. So looking at the whole sheet of paper, you can see that I pretty much have covered almost everything in. It's just really nice and soft, very light. And that's what we want. So let's give this dry and we'll come back. 5. Paris: Shadows: So now what we wanna do is put in this second layer. The second layer is really going to be the buildings, some of the areas of the figures, the shadows. Then we'll do some finishing touches at the end. But this second wash is a tricky one because we really have to pay attention here to make sure that we keep the areas of light. So what I'll be using a variety of brushes and really same mop brush, but maybe a smaller one. Tiny and mop brush like that. And a couple of leaves, smaller detailing brushes. I really want to actually go in to this this building first is one right in the center. Okay. And no mucking about, just make sure I've got those brushes. These brushes ready here on the side. I'm going to use the little flat brush for this because there's just more detail able to detail with it. And over here on the side I'm mixing up a bit of this grayish color. It's just a bit of blue, ultramarine blue, a bit of brown or car, or raw umber, burnt umber. Either of those will do find, gonna be to black, just really some dark color. And using the edge of the brush, Let's just test this. Let's have a look and needs to be fairly dark near the top section of that. There we go. That's a little bit like that. Maybe a bit more paint. And I'd say that I'm using year roughly 50 per cent paying 50% water. Because, I mean, if you think about it, there's really not much. When you're using darker paints, you only put like you need dilute it down quite a lot. Otherwise, it tends to look a bit overpowered. But when you're using color like yellow, ocher, doesn't matter. Even use it straight from the tube. Still. Very light in turn. So let's go ahead. I'm going to put in it's getting this whole building with a touch of this bluish color going to bit of blue and gray just mixed in there. Just like that. And I'm going to put in a little bit of this, these chimneys or whatever here as well on the rooftop just indicates some of those chimneys maybe just sticking out the top of the roof. Roof, areas like that. Okay. Coming down the page. And of course we've got some areas like this, this little window here. I will cut around that, a touch like that sleeve, something like that, an indication of that window. You can also do it for these sections years-old. You notice is these little windows that are coming out the side then this is just indication like that. Now we've got touch that. And what can we do now? Let's continue. Please bring a bit of this yellowy color down. Okay. Julian it on. I just want to join that on. I want this all to be another quick wash that goes oil all over the top. I'm leaving that right-hand side of the building for now, but I will go into that later to add some more shadow. But notice how I'm getting it to blend on with this yellow so that it's kinda seamlessly just goes from the yellow then to the grayish blue color up the top there. Sort of come down a bit. Alright, got it on here as well. This top part of this other section there. I want to do this all quite quickly so that it blends and melts together as one big shape. Okay. Of course, he tried to indicate the little chimneys and things on top of the roof. They can be tricky than they can be tricky, but I always think less is more in these circumstances. Okay, just touch on here and there. And I think what I'll do as well as perhaps add some more in later on. I can detail a little bit later on as well so that I can focus on this wash. Okay. Bit more of that yellow ocher. Let's have some bit of brown as well. Tiny bit of this burnt sienna. Come to bring that down. I'm going to grab this other brush. Is other round brush, mop brush actually coming down like that. And you can see this, even these little little parts, these windows and stuff, I can indicate some of that. But where I wanted to put in more paint is probably around here, just where this top section it's top section of the shades begin because What we can do is kinda cut around it a little bit. And I know there's some wording here, but I will leave that out for now and we might be able to put it in later on or just omitted altogether. But this is going to help to define the edges. A little bit of these, of these bits of these little shades. See here there's even a touch of darkness here as well underneath that shape. So putting in a bit of darker red is basically the red mixed in with the gray dark and this shade down here at the bottom. Okay. They're there maybe maybe not too much, but just something to just something to keep it looking more three-dimensional and cross the sides as well. You see here this just like smaller bits and pieces. But apart from that, we can just start blending this all in lending and on like that. No, I just loved blending. And this is all just one big shape. Just think of it as one big shape that the trouble is when you start looking into all the little details and then you start stressing out and trying to paint everything. Just tried to paint the large shapes. We can put in the details for some of the windows and things later that we don't need to worry about that at the moment. Okay? Just make sure this flows seamlessly together. Not any, anything that really sticks out too much that good. And even on these buildings to the left, I'm going to pick up some more of this yellow. Let's continue on. Whoops. Too dark, way too dark. Let me just lift off some of this paint. Getting a bit more of that yellow perhaps in there. There, some more water or something back here to bring that down. Like a bit of contrast is not bad either actually to have some darker buildings, sections of the buildings and there will actually be good like that. So not all of them just look The Complete same. Okay, this will blend nicely together. Now, this is where things get interesting. Going to put in some details on the right-hand side of this building. Again using this little flat brush. And I'm going to just try to mix this in to the blended in again with this yellow the side of the building there. So little bit of that. And just creating a sense of shadow on the right-hand side there. These buildings, okay. Cutting around the shade like that. Like that. Good. Another thing that's important, There's also making sure you've got some darkness underneath this area underneath the shades. Like I mentioned before, you just have some extra details and things that you want to indicate. But most importantly, the darkness underneath is crucial. So here we'll do it as well. Look at that, just kinda just cutting around the figures. Figure there and I'll just cut around that person here. Dark and at the base inside there, continue on here. So these kinda legislate shop signs or something like that. But underneath, you can even use some really, really dark, almost black colored paint. Some parts for maximum contrast like that. Okay. Good. And I always like to keep a little spray bottle on me at times as well to help keep part of the painting and lives. So just give that a quick little spray. The shadow is on these buildings to the right. Just going to add them on quickly. Okay. Firstly, let's put in some details of the rooftops. So you know, you've got a bit of blue here. Bit of blue here as well on top of these areas of the roof like that. Okay bit here. And what I wanna do is hopefully just dark and down these buildings touch in some areas like in the center, these little separations like that. Okay. And while this is still wet, I want to adjust this a little bit to just get rid of a touch of this paint so that it just is a little lighter, tiny bit lighter. So that when it dries, it's still going to be fairly light that there's a bit of, it looks like the sun is hitting on the side of that building. But what we can do is just put in the shadows on this right-hand side. So I'm going to pick up bit of grayish blue that I've mixed up that 50%, 50% water. And I can just add in some of these indication of these shadows. Maybe of the building to the right or to the left casting a shadow underneath here as well. I probably should have in a bit of darkness underneath these shade here that as well. Then here, nothing going on. This, I think this building should be good because it's out of the way. All of the other building. Okay. So just a touch of these some of these respective lines there. And I'll work my way down into this car as well. It's getting a bit of a shadow on the right-hand side of the car here. Okay. That they're there because that light source is coming from the left bit of the wheel here at the base and other part of the wheel here and just try to get in touch with that dark color. Neither will. And underneath the car, near the edges of the window sills and things as well. Might actually just coloring that part so that it looks better. Cut negative painting, really painting around the car to create the shape of the car. Bit of shadow on the ground. Of course, we need some of that shadow and we'll get it running towards that right-hand side like this. Okay. Maybe something underneath the back of it as well like that bit of shadow running towards the right-hand side of the car. There we go. Mixed, mixed on. Here's another car. Further on. In the back. Can try to shape it a bit more like that. You just cutting around this figure and the background and things. This is just going to help shape the car better. And the back end of the car, of course, being a little darker as well in the wheel underneath the car like that. It doesn't take much at all to indicate a vehicle. Oops. Okay. Area. A bit of the darkness running towards the right-hand side again. That's a car. Definitely. Okay. All drawing and doing it's doing its basic thing. Continue on. Darkening and adjusting. Looking at it and thinking, well, this could be darker, just the salt, the bit underneath the buildings like that. That could be darker, could have a bit of darkness here. Okay. I'm going to let that dry off and do its thing, but we can already get started on indicating some windows and stuff here. Like on this building here, see touch of color. Just indicate the window coming through. Like that. Yeah. Darkness in there as well. At the base somewhere. Okay. And on the top of these buildings, you do have some little details of the chimneys and stuff you can go in and just feathery and a touch of this stuff, which is why I don't spend a whole lot of time on the drawing, actually, because you can do a lot of this stuff with the brushwork later. It's the same thing really as, as drawing, but you just using, you're just using a brush to do it all. I'm going to smudge off this area. He just blend a bit of air in the back here to get it kinda smokey looking in that distance here. So I just added in some water into that section to help the colors to defuse a touch that area. So it looks a bit smoky back there. Some of these figures as well, e.g. what I thought, why not? Let's just put in some of this blue here or this turquoise color. This figure closer in the foreground, just to touch a blue like that. Oops, just gotta be careful. Don't overdo it. Blue color for this figure. You don't have to call them all in by the way, you can just leave some of them with white shirts or what have you as well. Okay. I'll leave this I'll leave that one with the white shirt, that person here. Okay. Good. Let's starting to slowly come together. We don't have all the details of the windows and stuff like that yet in here, but you can see where I'm doing it here on the right-hand side, things starting to evolve and turn into something. More windows running down the side of the building. You just indicating bits and pieces there really? I want to give that one a bit of a quick dry. 6. Paris: Final Touches: I want to actually start putting in some details for the windows and stuff like that. And I'm going to use some of these gray and a bit of blue mixed together. K dry off that brush. It's mostly just water. Mostly just paint, sorry. And we can roughly to start to put in little details like up here because that's just the edge of this window. The way I reckon the best way to do it as disordered touch and go. I don't often painting the entire window just like areas of it. Like this? No, there's four of these windows here. Okay. So roughly put in their locations like that. Some of them you may go darker. Some of them you might just leave a more open like that in it. There's also some of these little railings and things as well. And you can just draw them in with the brush. So we need to do just kind of draw them in and you sort of just, just detail. Okay. And with the dry brush making sure you leaving in this beautiful wash, that was the that was on previously. You can see it. Beautiful kind of wet and wet wash. They don't want to get rid of that. So we have to just use this technique sparingly to just dry brush, adding details and touch and go, spend too long in one section and get obsessed over one section too much, certainly detail. But you want to also remember, we're trying to preserve this. We're trying to preserve the previous wash as well. I want everything to show through. You might have these areas of the sea. He is section 12341234. I've actually changed this section of the window a little bit. Doesn't matter. That can come across like this side of the building. Let's do this side as well. And again, these broken lines, I don't know why, but it just looks better than putting them all in. Figuring out that it just looks too forced. Put on. Okay. Here's another one. Some of the smaller windows here just, I'm just simplifying this down. Of course, the reference has more detailed windows and so much going on here that you can get lost in all of this stuff, but just a little few little brush strokes, therefore, the windows and you should be good to go here up on the rooftop and noticed some darkness up here as well. Okay, just to touch that darkness there. And then we have an opportunity to get in maybe some shadows or something like that for the chimney areas. Rid of this shadow or something like that. What's this thing here is well, maybe there's something up here. Okay. I'm trying to just indicate a bit of that light source again running from the left to right but trying to keep it fresh. Okay. Creek and fresh. Bit more blue in there. The nice blue gray color. Nice little blue gray color around here as well. I'll just outline the top of this shade attached to bring it out further. Again, like I said, you're just doing it quickly as to you doing it quite quickly. Just look better that way. Maybe something here. Good. So have a look at this, some of these little windows and things as well. I think to yourself whether you can actually detail the touch like these little, they'd like balustrades or something up here as well. That you can indicate. And it's so easy to go overboard at this stage. So be careful. That's all I can say. Okay, let's have a look at these other buildings here at the back. You can see this running off in the same direction, but I don't want to detail all too much back here because it's getting quite far off in the distance. Now. That stuff I just want to put in little details like little windows and things like that here. But I don't want it to overwhelm the entire scene where I've suddenly got the eye of the viewer focusing too much on the peripheral areas of the painting. I want it to be centered around this side of the painting. But, you know, enough in there to make sense of all this stuff, at least. At least enough in there to just join on, look, make it look like a building. You can see some separations and buildings as well, which helped to just draw a line or something like that down like this, helping to separate out these buildings. Of course, you've got these little chimneys and stuff. You can just, I don't know, just sort of putting a bit of this stuff sticking out of the roof. I think that should do the trick. I'm just going to outline a bit more of the bottom part of the rooftops like this as well. Good. Extend some of this darkness a bit already. So those that building looks pretty decent. I just want to work on the ones to the right now to balance it out. And you can see I'm just doing the same thing. Just pick up this bluish gray color. Touching. Go on to areas of the painting of these windows that I'm trying to indicate. Okay. And at some point I'm not really looking at the reference anymore. I'm just winging it as I go. Okay. I don't want it to be too too detailed in this section either. So much going on there in the reference photo that it can be overwhelming at times. Okay. Good. I'm going to put in some of the legs and stuff for these figures are forgotten about them and we need to, we need to darken off these legs a bit more. Here. This figure here just kind of walking, walking in the foreground. And this one here as well. Just to get in the shadows as well underneath like this, maybe that joining up that shadow nicely. He's another one. Legs. Maybe a bit closer together. Okay. And bit of the shadow as well there. Like that. Don't overthink it, Darren. Here's the figure here. One leg forward and the other leg hanging back. Just hanging back like that. I think it again. And the shadow there we go, joining on figure to the right. I get this guy carrying on some kind of bag or whatever there as well. That could be a bag just slung over the shoulder or something like that. Hair and put a bit of hair and that person as well. Just using black. But you can use any other kind of color as well, just something to indicate the heads of these figures here, and it tends to work. These figures here in the front, I'll just pick up bit of red and just dropping a touch for the faces. Tiny bit of red. These figures here as well. And I will go ahead and get in some of the legs or the bottom part of these figures here maybe just indicates some of this, right. The shadow coming towards the right of the figures. Because this could be someone with a backpack or something and hear someone in front a bit darker like that. I don't really care that much detail here is just as long as it blends together and looks like a clump of people may be walking together. I'm gonna be happy with that outcome. Bit more blue or something like that here. We can bring them out a bit more later on with some gouache. Touch it that shadow running across the ground like that tend to, to have a larger shadow running across there. But I'll just leave it for now. Now the figure here and another one there. Same thing goes just more of that darker paint. Okay. Good. Okay. Really at this point, you are just looking at the painting and thinking to yourself, what else can you potentially bring out? What are the details? Can you bring out? I like these lamps and the wall. Tried to get some of these in like this one. Okay. Just a little indication of some kinda lamp or whatever there. Make sure they're straight, of course is another one here. Another one as you get closer to the front, they become larger, they become taller as well. It's amazing how little effort you really need to just imply some of these lampposts. It's almost just pure paint that I'm using, pure dark paint that I'm using here. Another kind of two-pronged two-prong lamp here. That coming in front. Then you might put another one here as well if you'd like, something like that. Okay. These little bits and pieces just helped bring the scene together. Detailing really, it's just the remainder of this is just looking at what else you can bring out. I love contrasts in my paintings and some people don't like super strong contrasts. But for me, I find it just really fun to, at the end do what I'm doing here. Just trying to emphasize the darkness, the areas of darkness on parts of the scene like that car for instance. Here, extra darkness there. Sometimes the shadows you might think to yourself, they, you know, they could be darker one and just put some extra shadow, extra darkness in here. You know, you can do that as well. Good. And this lamp here in the background as well. I mean, really just trying to find little things to finish it off. You can always go a bit more detailed with the windows. It's up to you. For me. I just, I like to keep them simple. Like this. Just a few lines, a few line bits of line work and that's it. Okay. Some of them may be darker, some of them lighter. Some of the more detailed, and some of them more simple. Some of them I've just made a bit more squarish shaped and especially the ones here in the front of the building as well. I thought. Why not? Why not? Just detail at a touch. These balustrades as well. There's just so much going on here and you can spend all day doing this. But again, you would be a mistake because it would then create an imbalance. Will put in some birds or something often the sky off in the distance. Just a few birds or something flying around in the distance. Give it a quick dry and we'll use a little bit of white gouache to bring out some special highlights on the figures and bits and pieces. Just a bit of white go straight from the tube. Okay, there we go. Just a bit of that. A highlight on their head and on the shoulder. Of the sum of these figures like here, like that, just touch here. The light might catch on to a bag or something like that. Like this. Do it quickly and use it sparingly. You own a car and bring back a bit of the light there. Some of the figures here in the distance as well. You know that I just kinda hiding away a little bit of that gouache. Helped to bring them back in little bits of detail. So for the lamps, I'll do that in a moment, but I'll just quickly put in some of these highlights for the figures in the foreground. First, mixing a touch of yellow to the squash as well. And that's to just create a bit more warmth as it's not too harsh. Some of these highlights that I'm putting on, that it looks a little bit more warmer here in the foreground. Okay, just blend that on with this, this figure here as well. The touch there, you'd be surprised how, I mean, look at that. It's just already brought out so much. It's in pieces. But these lamps, they have I think anyway, just a little bit more warmth or something in here maybe to indicate indicate the lamps, the touch like that. Simple little thing really but can make a difference. And not only that, we can do that for some of the windows to like, pick out a few that you want to highlight. Just dropping a little bit of gouache in there. And suddenly you've got yourself more interesting looking kind of window in areas. Little bit of a highlight here and there. Because sparkle in the window here maybe like they're on top of the building there. On the sides here, these little chimneys maybe indicating some of the light hitting parts of those chimneys as well. So like that, you'd be surprised what a, just a little bit of gouache can do. Sometimes see paintings. Even here, these little window we, areas that are on the roof near the rooftops as well. I mean, this is pretty dark in here. There's not much we can do in here, but just to touch maybe or something. There's some wording here. It says Royal Opera, I am not so good with the lettering, but we can try to just indicates some lettering, Something like that. I haven't actually written the proper word there, but it does look like a bit of wording just means it's not the same as the reference, but little bit of an indication. Some of this stuff running through as well underneath to just break up the darkness. A touch as well can help bits in pieces. Mixing a touch of blue with the gouache. So I can get some kind of a sky blue color. And perhaps use this as a way to make it look like some parts of the windows or whatever reflecting a bit of the sky. Okay. Not all of them, but just in bits, just an area as you can just do that. Okay. We're finished. 7. Aramate, Portugal: Drawing: Alrighty, So we're gonna get started drawing this particular scene. And what we'll do is we're going to put in the horizon line of the back. Very important with prospective, just making sure that we have the bottom part of all the buildings. And what you'll notice is that the heads of all the figures, also a lineup roughly around the horizon line. So this signifies that when looking at a completely flat scene, there's no undulations or whatsoever the land's not going up or going down. Let's firstly put in that perspective line, that horizon line at the back. And really it's just where the sky meets the ground and can't see exactly where that is. But again, I'm trying to estimate that to be just underneath where those buildings are. So it's certainly beth third of the way through the page. So if we kind of use your fingers here and just divide the section of paper to thirds. I can roughly indicate it here. Okay. And this is also roughly where this bridge begins. You can see the railings of the bridge case. It just a little something like that running across the scene. Okay. And what we can also start doing is maybe a little bit of the wall, this railing, I suppose now we can see it sort of comes in and really it's quite almost the same height around this area as well. So let's go ahead roughly here, just right of the center part of the scene. And then here, it doesn't have to be exact. And I'm going to just position that the war kinda comes out through that, the base, okay. The page roughly here, oops. That this is left side of the wall and this right-hand side here. Here. And we're gonna just getting this bottom part. Here. We go. Ready and we can start putting in the side of this one here. Another one here, this one has side there and then it just goes forwards more like that. Okay. Finishes off at the back. Will notice there's these little what they are little on parts of the wall here that stick up. So I'm going to emphasize a bit of that. Just a quick indication. Okay. There we go. Sort of sits on top of the wall. You kinda behind here. It's actually quite dark. And it's important to get this all correct. And it's like a garden bed or something like that here it's difficult to see. It's also some trees running in the side. We'll have to figure this out as we go. But these little little bits that stick out the wall like that and we can indicate better. Okay, top part there, like that. Let's just get into a little bit of this as well. That lamps or anything like that, that just I don't know what they are, little ornamental bits and pieces. The ground is actually a couple of these little stones that stick up. And I'm not going to put those in. I think I'll just leave them out for now. You will notice also the heads of the figures, like there's a figure here that's walking into the scene. They are all lining up roughly on the same spot, the horizon line here, here. But what you'll notice is that the figures closest to the scene, like this one here, it's just going to appear larger. Woman with short sleeve shirt coming down like this to the side. And I'll just give you an indication of her hand like that. There we go. Something simple bag slung over shoulder like just this little tote bag or something like that. And there we go. This is just the top. We can put in some of her legs as well. This one kind of going forwards. This one back, a touch like this. I'll probably tidy that up a bit later. But that looks. Okay, For the time being, you can see the people in the foreground, in the background here, mid ground background. They become smaller. And also just put in some of the legs underneath like that. Simplified down. I like to do a lot of the details later on when I've got brush in my hand, but more just trying to place the figures in spots and keep the composition looking a little bit more interesting. Because it's not really Not too many figures in here. And coming in here you can see this side. Part of the wall, It's quite dark, actually. Runs to the left is some type of tree here it looks like on top of the bridge. Actually thought this was a garden bed, but it's actually just the, of course it's this side of the bridge and underneath it's just darker. Okay. And so we indicate that as well wherever here. Touch that. And another couple of these little bits that stick out as well from the wall I really liked these are what they are, but they keep this bridge looking quite interesting. I don't want to detail them all too much though. Something like that. There we go. That one off in the distance. I'm good. Good. So we're really at the stage now. We've got all these people walking down and I will extend this, some of these perspective lines all the way back. A touch. Keep it looking a bit more three-dimensional. Remembering that this here is the wall and that's going to be casting a little shadow there as well on the ground. Alright? But it does help to put in a few vertical lines, sometimes just adding a break or something like that. All these lines go towards the vanishing point. So you imagining just a dot here. And then all these lines going towards that point. Again, I don't want to overdo it, but just enough in there. So trees and things like that. Now, we've got these buildings, and I really like this building right in the back. And we want to make this quite a, quite an obvious point of the scene. Firstly, we'll see how far does this actually go up. Now let's say it goes just above the mid point, maybe here, maybe about here, this top part of the building. We can also make it a little bit larger. I'm thinking I might make it a bit larger just for the sake of this composition. I don't know, just to emphasize that building a bit more. And you can see it kind of has a triangular roof, this part of it anyway. Next, the area with the dome there and bring this down all the way down like that. Okay. The side of it. So have a look at this side of it as well. Bring that one down here. There. Okay. It looks pretty large. Often the distance and you've got middle segment of this kind of rooftop of the intersection like that, another sort of triangular part. There. There we have it. It's hard to see the exact details in here, but we can just estimate. And a lot of this has really swimming in darkness anyway, so we don't need too much indication of what is going on in here. I tend to draw in these funny little broken lines. I put little dots in sections where I've got points of interests. Some type of monument up here. Here it's very difficult to see like little figures or even just areas of tops of the buildings. It doesn't matter. Okay. It's actually a section here that's a little more complicated, but we're going to simplify this one down and touch here. There is a section here as well. Let's just pop in some of the details of this part of the building here, this triangular bit, we're just looking at the building and picking out shapes that you can comfortably draw. Because if you break down the buildings into shapes, becomes a lot easier to draw them rather than looking at it as a building and trying to draw the thing as a whole. Break things down into small parts, and works very well. And allows you to focus the details of each part of the building. I mean, even here, I don't need too much detail on that side, so we can just simplify that down there. Here is another side of this part of the building. I'm going to put in this rooftop, really important, this kind of section of the roof here as well, because there's a lot of lights on it. So let's get into a bit of that rooftop here, something like that. Okay, good. The side of that building like that. It's really I mean, once you get to this part of the scene, there's all this kind of detail here in the background, which we want to indicate a little bit of. But I'm not so fast about all of that because it's getting further back in the distance. I'm getting quite detailed as well. Okay. And we want to make sure that we're not bogged down in all these tiny little details that won't be noticed and also can detract from the rest of the scene if you're not careful. So let's go and pencil in the top of this dome. It's an interesting looking one, pops up like this. There will finish off roughly like here. Yeah, it's an interesting sort of shape, one like that. Yeah. And that's kinda the top of that section. That'd be afraid to go a bit darker in some spots when you're penciling things out to really pinpoint where you want the mean. Here's the actual dome itself. It's really like a bit of a flattened dome. It's not too obvious, but it is a dome. That's for sure. Then on top here you have got the, of course, the details, the second sort of miniature one up the top there and more of the details of the building going up. Okay. But you've got a couple of windows here like that. And just kinda connects on that. I think that looks pretty good for that building. We've forgotten to get in this one here. Again, simplify that down. This is just a rectangular box-like shape like this. Oops, it actually goes near to this. Kinda goes next to this one as well. Yeah, They're just simplify it down a touch like that. And I will shorten it on that side. I've just drawn it a little bit too wide. Here we go. Window here. Window here is a section of that building there. A lot of details. But we want to simplify, simplify, simplify that down a bit. And you can see there's all trees and stuff here as well. That's good. Just put in some of that even here because that is this large tree really here running all the way to the right side of the scene, just penciling that in. But also you can see there's actually a roof of some kind of orangey building in there. I'll get that in. Just remember to pencil this orange color here. And actually the bottom part of the near the tree is the bottom part here. There's some white sections of the building. It's really a cool white color. It's all in the shade. Then you've got some of these trees here. There's, there's one tree that's a little bit closer. Well, sunlit there. And let me just getting this structure could agree because I don't want it to disappear all the way behind. Mind everything. Okay. Right. Let's have a look at the buildings to the left. Feelings to the left. We start off here, this roof top of some other building here like that. Let me just erase this a bit more of a cleaner edge like that. Cleaner looking line. Some buildings in the background. And I am just kind of simplifying those buildings down. I don't want to spend all day doing this, but a couple of windows like that. The remainder of these buildings are just decoration really to make everything else. The other buildings make sense. Okay. I don't want them to be the star of the show, but I do want them to play supporting roles in this particular scene. Okay, here's two more buildings, but this one, like that roof, interesting looking kind of roof here and runs to the right, comes down like that. Details in the background. But again, it's kind of like got the front side and the left side that just runs all the way down here like that. I'm there and you've got another building here. And I just simplified down all these little windows here. We can just we can wing it, put in some little windows afterwards. Okay. But apart from that, we've got a pretty good sketch to get started with. The only thing that I want to change this, maybe just the legs of this figure does not look so good. They need to be more just drawn out a bit better. Okay. Going forward, one of the other leg. Going back a little bit like that. Okay. Nothing you can do is put in I don't think anyway, just slightly closer figure here. I think this will be good because just getting that sense of shadow, you notice the shadows are just running towards the right, but kind of right and back a little bit like that on a slight angle. And we'll just say or it's just devoid of really any shadows. So I thought I'd add that one in. This one will come in a bit later. Okay. Alrighty, I think that's a good start. Let's go ahead with the painting. 8. Aramate, Portugal: Lights: Let's go ahead and start with this first wash. And to get things going, I'm going to go in a bit of yellow, yellow ocher for the buildings. And I'm using a lot of water in this yellow because I just want things to be fairly diluted and lots of light here on top of the roof and in some areas of the buildings I here, e.g. I'm just putting in a little bit of this golden record, acridine, yellow color, roughly. Just a little bit more there to sort of indicate some extra quality of light, extra saturation of lights, I think is nice on some parts of the scene. But for most of it, I've just got this yellow ocher, which is more subdued. Even on top here, I'm going to use a bit of red and a tiny bit of tiny bit of orange, red and a bit of orange, maybe bit of this stuff here. This is a bit of burnt sienna. Just drop that in there up the top of that dome. And I'm going to just let that sort of melting a touch and K there. What else do we have some more that brown maybe just drop that in bit darker. Let it do its, Let it do its thing. And more of this yellow ocher here on the right-hand side. Just bring that across. Just a nice light wash. It's mostly just water, 90% water in here. Then of course you've got a lot of these green bushes and things like that, but I'm going to get them in later. Alright? If you get a bit of yellow in there, like, like what I'm doing here doesn't matter because it's very easy to just mixing a bit of blue or green and it just turns green anyhow. These buildings actually white background, I'm thinking I might leave them that way. Really, they're the kind of slightly cooler in color. So cool. Cool, gray might work well like that. Because they kind of actually in shadow while they are in shadow. So a little bit of that, but not too much. Just a touch of that kind of like a cool gray color to give it some presence. And on the top of the roof will go in again with a bit of this Quinacridone yellow, bringing out some of these quality of light like this. Joint it on. Maybe even better this tower as well here. Why not just connect that all on here as well, just a bit of that. Why not just drop some of that in a bit of burnt sienna? Be good as well in some spots. Too dark. Let me just shift that around like this. It goes into the background as well, some of those buildings. But quinacridone yellow. Just getting a bit of those highlights and top of those buildings also have nearly forgotten. But this one here is of course a touch of that quinacridone yellow there. And carrying across down the bottom is some of these cooler gray color. Again, just mixing up due to that. Okay. Have you come across as a bit greenish for I forget. I want to make sure that we go into the sky and adding some some blue. I'm going to use cerulean blue. Cerulean blue. Okay, let's drop some of that in cerulean blue. I've actually got a bit of white gouache mixed into that cerulean blue just to touch a white gouache. Um, I want it to just have a little bit more body and mute, little bit more of a pastel look. Okay, but a lot of this is just mostly water. I'm talking about 80 per cent paint. 80% water, sorry, 20% paint. And as you go closer to the buildings, you notice some of these buildings I have already dried but I don't want it to get it to run into all the buildings, so I just sort of stop shy of areas. I mean, here doesn't matter where these bits of the foliage are and stuff like that. It's more where you've got. Warmer colored buildings, I think does help to stop shy of them. Like that. Just leaves a bit of white there. And that creates a nice separation so that you can get these cool colors and warm colors as well. Coexisting more water in here. Bring this down. Yeah. The the the here. Okay. Good, Good, nice sky there. I'm going to pick up a little bit of a cooler color, maybe purple color, and just drop in a touch of it. In some areas, maybe to get in some clouds, clouds or something just purply. Recent purpley looking clouds in some spots are going to be quick and spontaneous with this. So some of these clouds you notice they just become larger as you get up the top. So does help to put in a bit of extra paint at the top. And you extend out those clouds a touch. But it's not much more so just to get some variation in there so that it's not all the same color. Personal preference. Okay. Here we go. Bit of purple, bit of darker cloud, sort of shape up there. Let it blend in it do its thing. Let's go. I'm gonna put it in a bit of green here, just the beauty of this bit of undersea green. Okay, which is like a it's like a kind of granulating green. And use whatever green that you want just as long as you've got some darker greens running through here. And I like to just get them to blend in with the rest of the scene. I can see I'm just sort of going into the buildings. And even here, these darker bits as well, I think I'll have to redo it again afterwards, but just some softness in there is good. Okay. Running down and actually just so much going on in here. Let's go ahead and pick up some yellow some yellow ocher. I'm going to drag all this yellow ocher down into the ground because it's actually quite warm. Very warm on the ground and almost like lighter as well. So I'm trying to use more water in here, probably 95% water and only five per cent paint in this mix to be able to get in this quality of light. Here as well on this wall. It's important to keep a bit of that to that light in there as well. Good. Alright. This wall, I will put in just the yellow. Okay, But keep in mind that I will actually change this I-bar through that in a bit more little bit more brown and things like that in that mix. But just some yellowish color or warmer color in that section should do me fine for now. It's cutting around that figure a little bit. Okay. You have it, you've got the first important washing. We will give this a little dry and get on with the remaining details. Of course, you can still go in there and add in some wet and wet for these trees, just some of the lighter trees. Areas. Go ahead and change up a bit of that stuff nicely in the paper is still wet so you will get a lot more cooperation. Darker bits. I thought it would be nice to just add in. Okay. They're more go up a bit more like that. And a fantastic, Let's give it a try. 9. Aramate, Portugal: Shadows: Alright, so what we're gonna do now is we're going to start working on all the shadows. And I'll actually start firstly with these background buildings. And I want to mix up a cooler shadow color. I'm using some ultramarine blue, nice ultramarine blue, and mix that in with little bit of a look here. This color, a bit of sienna and a touch of burnt sienna and purple here. But mainly I just like to mix in some of these kind of brownie taught colors with the ultramarine. But I do want the shadow to be a little bit more cooler. Got a bit of this neutral tint as well. Something like that. As long as it's got a bit of a coolish tinge to it. How dark you want this to be? Well, we want it to be a little bit lighter than this tree here, but still fairly dark. Let's just have it a try. Let's have put that in. Looks like we got probably a little bit too much in there. Put some blue with more blue. Okay. Always remember as well, this does dry, lighter. So you get one go at these, just putting in the shadow. Dark on that right-hand side of the building, the light source coming in from the left. You can even just emphasize if you want to do this or not, but a little segment of that part of the building there, maybe catching a touch of that light too. Let's see how that looks. You might look funny afterwards and if so, I'll just remove it. Coming down. Needs to be pretty dark and touch it more. Yeah. Bring this down the page. More of that blue in there, just to give it a bit of coolness. Want to swap to a smaller round brush for this. Even in the middle. Mock brush should do the trick. I mean, it actually is better if you can use a little mop brush for all this so that it's a bit more fluid looking. Okay. I'm going to cut around these little sections here and the midground. See these little bits that stick out of the bridge. Here we go, bring that down, that down. We have it part of that building behind it. I'm a bit of shadow here as well. You just wanna do a lot of this all at once as well. This is part of that shadow, that little flat brush. This will be better here. And we'll get to that. Okay. This shadow runs crop sit like here, connects up. And it's pretty dark here as well. Just all joining together. Always looking for that large shadow shape that runs across the building. Okay? You can remember the light's coming from the left. Okay. Here's some more. Just drag this down the page here as well. Just, um, you also don't have to color over here. Notice I've just left a bit of color. I'm showing through, a bit of that previous color showing through as well. Okay. You can still alter this darkness in here if you get a chance to and you want to that is this here is just again a bit of the dome. And I'm going to connect this dome up again just to create this sort of shadowy shape. There. You can actually see on top here as well. Join everything up nicely. Even this top part here you've got a shadow or something like that here at the top of the dome, smaller part of the dome anyway like that. Okay. Just some minute details. We can alter them later on, but just a touch of that to begin with. Here as well. A bit of the shadow on the right-hand side of the building, you trying to get that to be quite consistent. And make sure you don't go over these little rooftop below. Leave that nice, that beautiful light shining through some of these buildings here. You'll notice they, they've got these kind of windows and stuff sticking out the side so we can just indicate a bit of ad indicator beauty of this stuff going on. You go to this window as well. Like that. What else do we have? I mean, there's actually some little shadows running across the side of the building to It's very subtle, but like, like this maybe basic little indications of light. Darkness for the shadow. The grid. Again, the paper is still wet. You can just alter, change bits and pieces around. And these these windows here in the back, these background buildings, I'm just trying to get in a quick little indication of what's happening back there as well. Simplify that down and add in some details for the buildings in the back. Just using the same flat brush to imply what's going on. I'm also going to just dark and downs this building here at touch. Feel like it does need a bit of darkening down. Not only that, it's going to help to bring out the yellow that you see on this building to the right. A lot of these, just these buildings in the back just need to be call it in a little bit. Mostly just water in here, a bit of blue and a bit of gray in that section for these buildings. Just want to connect them on to each other like that. Of course, you've got these other buildings here in the front, not building these trees in the front as well. It's just getting some of this stuff here. And with a blue running down like this as well. I'm just a cool gray color, I suppose. In that section. Right. We got here on the right-hand side. The color as well. The Neith here just to be like kind of bluish color, something like that. Okay. And some green bit of extra green for I think some of these trees you see here on the right. Why not just emphasize some of this happening, this a little bit detail and these shrubs, shrubs, but the top part of the tree branching out. Some of it actually hits the building of touch. So you can see. Okay, but it just gives it a bit more texture. And presence. Just picking up really a bit of this leftover paint, darker paint with green in it, feathering and a bit of it down below. I've also got some of this black which I will use as well to create these little branches are these stems, trunks of the trees here. Okay, just join it up, give it. Basically just connect everything together. And we're getting close to the foreground now where I've got these little structures, I'm going to add them in like that. Just really dark. They just part of the bridge. I suppose that was going to Milton attached, but this one is going to look fine. Quite dark brown. Brown, brown, like that. Brown here. Okay. Black top. Okay. And really we're just adding in those final touches of really dark colors. This bridge is, of course part of that. So I'm going to cut around those figures a little bit and let's work on this section of the bridge. Okay, I'm gonna be using some brown colors in here. A bit of burnt umber, and maybe a touch of touch up this neutral tint as well. Here. It's fairly dark, but I want to keep an element of why it just a sense of light on top of this as well. You can see just a touch of that light reflecting off. Okay. Cutting around that figure. Yeah. Just pretty much going all the way down the scene and around these figures. Can be tricky. Neutral tint. Yeah. Just these vertical lines running down through the page. This some more neutral tint, darker color. Just kind of like a shortcut really to get in a dark color in there. But if you've got your three primaries, you can always just mix them together and you get a nice neutral color. Anyhow. This is the ground and it joins on the shadows. So to join XOM with the shadow, shadow is a little cooler. Touch cooler. Get this in quickly like that. And I want that to just blend in nicely with the war. There we have it rid of that shadow. The shadow is also lighter, a touch lighter than the wall as well. Remember that I'm just trying to be more of a connection there. And make sure that wall is dark enough. Behind that wall, you've even got these little elements like I'm going to put in, mixing a bit of green with a bit of black to get some darker sections of these trees and things in here. Just a touch of that here, bit here maybe there are sort of darker trees and those trees anyway that I want to imply with some dry brush. We just basically drawing that brush off a little bit before going back in here. Okay, But I'm picking up a quiet dark paint. In fact, it's it's almost pure paint. Just a little water in it to activate. I'm good. Bit of the details of the figures might be a bit early for that, but this one here, I thought let's just put in maybe lavender color or some cooler color. The shirt. Coolness or something that here mu not another sort of slightly cooler color. Something like that here. Yeah. I'm just bringing out some of the details for these figures, making it look like they're present, I guess. Of course you can just go darker for some of them like that as well. I do like to go darker with the legs. Can take this one out first. With the legs. I'll pick up really dark or black purplish color. And in this case I'm just picking out a bit of neutral tint. And I'm going to connect that onto the body. This is one of the legs. The other leg here. Hey, simple. Join it up on the bottom for the shadow. Like that. There's another figure here, again, just sort of standing around and I can get in that shadow for the legs of that figure as well. This one here, two legs running down. And you find that also when they get close to the wall area here, that actually costs a bit of a shadow on the wall, which you can indicate like this. Quick little indication of their shadow. Long you make that shadow as well. It's up to you. I will just extend these out of touch and just work a bit more on detailing those legs. K is one here. Now I'm just dropping that black paint. That's really just pure black paint that I'm using here. Okay. That's a bit of that shadow running towards the right as well. Here. More shadow figures off in the background. You've got the legs. Just always they start joining together and you start making things up in a, in a sense when they are far, far back in the distance. This one here, so close as well. Front leg and the back leg here. Well, the shadow let me running like this. There we go. Bit of a shadow. You get some little marks on the ground for the perspective lines. Just some little things like this. Just keeping it looking three-dimensional. Of course, you actually get some bricks and things that show through. I don't want to overdo it, but just things like these can help with bricks here and there. That indications of the brick work and the perspective of what's going on here. That's a bit of an obvious one, but doesn't matter that I'm doing it quite in a way so that there's this dry brush technique as well. So they don't look too obvious. Okay, here's another one may be here like that. Maybe I'm putting another one. I'm going to put another one here or something. Okay. Remember that starts to look like like something. I just tend to leave it at that stage and this wall as well, there are some little bits of darkness and things in here will indicate that that darker section at war in here as well. You can see just sort of goes all the way in like that. Here, this top part of the bridge, I'm just going to darken in their blue or something here. Good. Some of these bricks and things in the wall as well. We can see here just little indication like that does not do any harm. It actually helps to indicate that there is a wall here. I'm sure. Some of the details trick is just not to overdo it. And adding a bit of blue for this figure here, a bit of turquoise, maybe the shirt again. Maybe lighter turquoise on the left landed on with the legs. And I will just add in some more neutral color to the right-hand side. Okay. Please. Yeah. Good time to work a bit on these background buildings now that things have started to dry off, I think we can actually go in there again with some a little bit of darker black as you can see. And just get together some small details like look at the top of this there, this dome can just outline some details like windows and things as well like here. This window would be good if it was darker. Something in here and not just that, there's like little little areas of the building that you can actually draw it out in a sense like this. Just with a few quick brushstrokes. Kinda almost broken brushstrokes. You feather across and just indicate some coincidental details in here. Could be another window and that's actually a statue, but I want to change that to a window. One here as well. That one there, there. Just a little, maybe a bit of a line here, slight line there. We go. That looks better. So always just trying to balance it so that it doesn't look too, doesn't look too forced. Terms of some of the line work on here. It just needs to be subtle. Okay? But bring attention. Bring some attention to the architectural details. That's all we need. Even underneath here, they could do with a bit of Something like that. Okay. Play around some of these buildings to the left. Again, just picking out some windows and things like here. Now the window window here, there, there. You know, I don't have enough to make it look even though these look exactly like ones in the reference photo. Especially because I want to push back these buildings or touch. I don't want them to be really a distraction to what on to everything else in the scene. Okay. There's actually some windows or something here maybe for this little house on the right, just touch a detail like that. Okay. A couple of birds or something here. Just off in the distance. Little v shapes. We've seen the sky. And I'll put some of these near the top of this building in the center as well to help create a sense of scale. I want to overdo it as well. This is this bag, but this lady is holding or just put in a little detail for that bag. Like that. Finishing touches. I'm detailing beautiful wash on the figures as well. I just wanted to get in touch of gouache to bring out some highlights. Whitewash. Small round brush will be better for this. Shoulders here. Head and shoulder. That figure. Sort of putting a bit of light or whatever on the left side of them. Just to indicate the light source on the left. Okay. I don't want to overdo it though. Some of it on the you can see here bringing back a little bit of that light on the bridge. Okay. Touch of that. In areas. You don't want to overdo it though, but just the touch of that little bit of white. And even on the top of the buildings and areas. We just want to create a little sparkle. That's what you can do to just bring some of this stuff back? Just be that yeah. More so on the left side of objects. Okay. Hair or something on some of these figures? Just a touch of darkness or something. No other spots. In my finished. 10. Nature Scene: Drawing: Time to start with the drawing and first things first, we're going to get in the horizon line. Pretty simple here, it runs just across the center of the page. So start with that line down the center of the page doesn't have to be perfect because it isn't actually running perfectly down the center anyhow, but it separates the sky from the earth or the grass down the bottom. And normally actually put the horizon line a little bit lower down. But I liked the fact that there's lots of shadows and stuff in the foreground. So that's why I just going to copy the reference photo. So let's go ahead and really there's not that much that we need to draw in here. All we need to do is just make sure that we've got these two trees now, the way that they kinda positions was quite interesting. So we've got one coming from these different angles. This one just coming off here on the side. And the way I draw trees or hold this pencil or from the side like this. Okay. I'm holding it right at the back and let it take me and whatever direction like this. As you can see, I'm using the reference photo to guide me in terms of the branches. But at some point, the end of the day, you just have to let it do its thing. And you notice the branches just sort of go off in two different directions. Usually they branch off the y. Shapes like that. Okay? So important to get all of the branches in. But you want to get in good number of them. Especially the ones of the trees in the foreground is like a tree here in the back. See how it just sort of intersects a little bit. And you've also got the branches of that tree in the background just disappearing off, splitting off into other tangents and things like that. Okay, It's really quite busy in the background. I want to focus more on these foreground branches. But of course you've got some of these ones in the background as well that we work on a touch, okay, but can actually just darken down with the pencil or these ones in the foreground and Tommy done with the painting, you'd be surprised that you can't even really see the pencil. And even if you do see the pencil, actually it helps too. Bring out detail in the tree. A phone with graphite as well as when you add, water, dissolves in water if, you know, people forget, people forget this. But graphite at the end days is a mineral and so it does dissolve in water. And you get reduction of all these darker marks on the paper. So don't worry if you do draw a little bit darker. So you add water and they end up just disappearing anyway. Okay. And I'm going to cross. Here's another branch and we can see there's like a tree here running in the center. I like this one and I actually going to perhaps exaggerated a touch as well like this. Coming up like that. Look at these, what, these branches, Let's get this one coming up like this. That just disappearing all these branches. You can always add more details as well to the branches later on. I always like to do that later with the brush, brushwork. But for the meanwhile, we can work on it like this and just have a bit of fun with the drawing. See where it takes us. Also remember that we don't have to get those exact details as for the reference, great thing about drawing trees is that they all go off on different tangents and great, fantastically interesting shapes on their own and go off on different tangents. As you can see, some of the clump of leaves or whatever. Yeah. Okay. This tree is kind of interesting here, but then you've also got another tree in the background. It's run so close to it that it almost looks like it's part of that tree. But I'm going to separate it out a touch. Just separate it out. Touch on getting to neaten, remember the hold the pencil down the back. This is going to just create a bit more randomness in here. Otherwise, with the trees look too neat. Funny enough, you end up losing some of that character. The realism of the tree, believe it or not, more random, you are at times within reason. More interesting. These trees, we'll look at a couple of these, these trees like that. He's a clump of, I know a comparable something here. The leaves I'm not here. Just disappears off like that. Here there's branches that just go off into the sky there to the right, disappearing off the ground. You've got some of this grass here in the background and just sort of goes off in their trunk here, this little of this little tree here as well. Just putting a bit of detail, that grass. We don't need to really do that as the amount of rocks or something about there. I'm not going to bother with that. There are some of these trees here, these like these, Jima call it smaller looking trees. In the background. I will put in some details there for them, but not a whole lot, just enough to indicate them. The branches like these distant trees are there. Now, I want to actually put in maybe like some figures. Let's have a think where should we put some figures maybe here. Let's put in the person they're near the horizon line. Okay. And the body like that. And just getting some legs like this. Walking maybe into the scene with a friend. Okay. Oops. Couple of figures here hanging out together. And we'll be able to get in a little bit of a shadow as well. We can seek the shadows of the trees, just kinda go all the way into the foreground. And like the light is almost coming from the backend region from the back to the right end sign in this bush and stuff like that out there as well. Here. In a bit of shadow here and some flowers and stuff too. Okay. I'll actually maybe putting some houses like some imaginary like a house or something here in the back. Okay. Just a quick something like that. Making it look like they're off of going off to some little house here or something. It could be a bunch of them out the back. Just a little indication, not much, but maybe to tell a slight story. And I'm thinking whether we should have a path. Why not just have a bit of a path running through something like this? Let's just cut out. Running through this section. May or may not get rid of it later, but that's just something I've thought about. And some rocks and things. I do think that there's just some bits and pieces in here that are missing that would help to tell this story. And normally when you have rocks and things and sticks lying, it helps to align pave the way this path. Okay. Something I just decided to put in. You can get it some rocks and put them in next to the trees as well. Like this creates a bit of interest and something to look at. The rocks near the front as well and then get some larger ones like this. I'm just playing around really, it's not rocket science, but one thing to remember is you want to make the rocks at the front a little bit larger, a little bit larger, so that they appear to just be receding in size, receding away as you move towards the back of the scene. That we've already got a bit of a story going on here. I'm going to put another rock you bear down that route. I left-hand side. Okay. Some more here. Maybe they'd just going off into the distance that comb, something like that. Okay. Good. So there we go. We've got a bit of a story going on. Let's get started. 11. Nature Scene: Lights: The painting. And first thing I'll do is I'm gonna go these trees. I'm going to pick up a bit of a warmer colored paint. Like greyish coloured paint, actually, it would be best gray, gray with a teeny bit of teeny bit of warmth in there. Let's just paint that in a warmer gray. Just get in some of the colors of these tree trunks. And these will dry off a little bit, which is a good thing. Then I can actually work on some of the leaves and the background as well. But this gives me a little foundation block for the branches. Very light. I mean, I'm just using mostly water in this mix, maybe five per cent paint if I'm being generous at that. Even it's just not much in there at all, but with a teeny bit of yellow in there to just warm that gray up. Touch. Okay. See how they just the branches just disappear off into the distance. Okay. Let's look here as well. These branches, more branches here. There's also some branches coming in from the right-hand side of the scene, like here, which I will just quickly emphasize a little bit. Here and there. Yeah. There. Yeah. Fantastic. Let me get a bit of yellow, a tiny touch of yellow maybe on the left-hand side of these trees. I just think some warmth would be nice. While the paint is still wet, you can actually drop in some of this stuff and it just melts in nicely and you don't get you don't get too much obvious bits and pieces. I thought I'll put in a bit for the figures as well. Why not just a touch of white there? I'm on the ground. I'm going to start working in a bit of yellow. Just, just to brighten up the ground a little bit. This is some quinacridone yellow. Okay, and I'll drop in some green soon, but find that if you put in the yellow first, you have a much better chance of getting a nice range of greens and preserving some of those yellows at the same time, some of those yellow, green colors. Because everything just usually turns to green if you're not careful. But that move some of it down further. I'm just working my way through okay. A lot of water here, tons of water that just helps me to spread this paint around. And you don't want to be using any thick paint. At the moment. Just pick up some of this green. This is a bit of undersea green, just like a granulating dark green. And I'm just going to drop a touch of eating in these areas to capture some of the grassy sections. But the same time I just want to preserve the warmth in here. So you have to be careful that just mixing some of the greens in here, linear, Mingle, Mingle about it a bit as well. It's in a moment, I'm actually going to put in some of the shadows and things for the trees. You might think it's a bit early, but it's actually a really good time to do it while the paint is still wet. But I do want to let it dry a touch. First. I'm going to put in some more green and stuff out here as well, just at the back. At the back of these figures. Tiny bit more. This is not the end. We're going to go in afterwards and getting some more colors. But just light washes for now. We'll do the trick. We can also just flicking some paint as well, just like this. This stuff. Just tap, tap that brush in there to create some little variations and bits and pieces. You can even put in some browns, little bits of brands and things running through in here. Let it do its thing. I want to overdo it though. I'm going to go into the sky. I'm just going to pick up some cerulean blue, the light blue cerulean blue color. And I'll work my way around the trees. Okay. Some of it may go into the trees, but we're just going to do a bit of cutting around work as you can see, hear touch of cutting around work. And the branches, right? It's a very thin layer of cerulean blue. It's mostly just water, probably 50 to 60% water. The rest of it paint. As you get better with mixing colors, you don't have to go back to the palate as much. Mix up a bit more of this blue here. Maybe some whites, a little bit of white in there as well. Like that. Just want to blend this on with the ground, with the land, sorry. And also try not to overdo it. Very easy to just overwork the sky. But remember, it's at the end of the day, just one quick wash color. At the end of the day, the rest of the scene with all the darker trees and darker branches. Later on, we'll go over the top. This, this blue in the background. But note that I am still cutting around the trees because it creates some of these nice little variations in color. Doesn't all mixing two the same thing and just turn kind of like a greenish color. So notice I sort of go over some bits as well. There are a few that have been maybe overworked or the way the paint has dried in a predictable manner. Some more blue in here. I keep them on the ground is still kind of drawing off, which is absolutely fine. So I want to add those shadows in it just at the last minute. Look at this. It's just coloring in the sky. It's come over here getting a bit of this around that branch as well. Yeah, around this one. These branches can be a little bit tricky and he's closer ones, but just play around and just getting a bit of that color around them and you should be okay. As you can see what I'm doing there. Now, we'll just blends together. Look at that. We've got something already happening. Over in the back. You can see there are some darker spots of contrast and things as well. So just dropping in some more extra greens, darker greens. All I can. And having a look around, well, let's pick up a little flat brush. And I've got a fan brush as well. And these will be paramount to just getting in some little, little qualities like these tiny little brush strokes that helped to create some softness in here in some detail. Feathering this in. Okay, be careful though because I don't want to get rid of all this light. I'm going to pick up that green and I'm going to mix it in with some neutral tint to darken down that green is significant amount so that I can get in some of these shadows. Okay, I want to make sure it's pretty thick as well. Great. Now we got some that just sort of come in like this, like that. And they blend. Look at that. You just got to really just gotta go ahead and do it. Follow the reference. And the great thing is that because the paper is still wet, it blends in. These softer shadow shapes just blend in nicely to the ground. There's even some shadows maybe coming from an object from the left-hand side of the scene. It's hard to see it coming out. Okay. From the side of the scene, they're probably a bit dark, blue to dark, which you can then spray down a touch if it is. Okay. Give it a quick little spray in that corner. Dissipate some of that paint. Encourage it to move around and touch. Okay. You can see just some softer shadows often. Yeah. You can see just some of the branches start to get sharper. Here in the foreground. I actually like that. One, a blend of sharp shapes and sharp shapes and soft shapes for the shadows. These are just again, the enterocyte, the tree, the branches and things running through. Okay. Then you've got just a bit of darkness here. The right hand side. We've got a good indication of those shadows now. And I'm we will continue working on this. I'm going to pick up pick up the little fan brush I have. And I'm going to just mix up some different colors. Okay, I've got a bit of green, light green. And if I can do a bit of feathering as well in areas that would be good. Give this a quick dry. Again, using this feathering technique to draw out some little details like grass and stuff here. Because that just a little grass running through the back while maintaining and keeping some of this this wash as well. Here we can get some other bits of grass running through like this. Nice little bits of grass. Keep it, keeps some of them random and have some of them sharper looking than others. And of course, the paper has dried in those sections. It's much easier to do this. Yeah. Yeah. There are some of these little shrubs here which also casting a little shadow to the right. You can see just cross the path or whatever you got in there. There are these you can just see them off in the background, but these darker spots in the back which I will attempt to get in there. So just using this little fan brush. And I've got some purple and green as well. Just trying to further some of that in this, also this, what you call it this flat brushes helping. This is helping to do some cutting around. Okay. The great thing is that because the paint is still wet here in the foreground, midground, sorry, It just melts. Melts in nicely. Left side. Not so much. I mean, I might just give it a quick little spray there like that. He's going to go over it again with some gouache, but you can see it just kind of create some additional contrasts. You can even start doing some of the branches at this point. But the main thing I want to focus on is just getting in some of this darkness in the back. Okay? Mostly just want us using black and we'll mostly black and a bit of green. Okay. Cut around what we've got there already. And you just carry it through, I suppose, as even these these little trees here that I think we could get in a bit of this right-hand side of them like that. Their edge of that flat brush just drawing some details. Here, more darkness in the back and around the figures. This is gonna be good to get the details behind the darkness beyond the figures to make these two stand out better. The houses and things, these little bits here as well will be helpful. Just to cut around them and you just make it look like they're trees or something surrounding the houses. A sharper looking ones like that. Okay. Certainly getting there slowly. Slowly, but surely I'll just quickly draw this off a little bit in the center. 12. Nature Scene: Shadows: Here I've got myself a little pocket knife and what I'm gonna do is just do some scratching artwork to create some little bits of blades of grass and things that I can just scratch out some details here and look, you can actually bring back some of the the previous wash off the paper, just these lighter green colors that show through these little scratches here and there. You can even do them when the black and the background here where there's got these black darker colors back there as well. And sometimes it helps. You can get in the tree branches and stuff like this. Tree trunks and things as well. Just running through making it look like there's something in there. I think it's quite helpful. So here we can just getting to know a few of these bushes and things using the tip of the blade, just a scratch away. If you've got yourself a little credit card or a piece of plastic, something sharp. You can do exactly the same thing, but you need to wait until the paper has almost dried. So there's a bit of dampness left in this paper which allows me to actually do this. Otherwise, it would not do anything. It'd be completely wouldn't move go into early as well. It will just move around too much. And then what happens is that you will actually get paint running back into these little marks that you're scratching out. Takes a bit of trial and error. But practice on paper and just see at what point you can execute this technique effectively without it. That'll be without being too dry or too wet, essentially. Like that. Just kinda cutting around these graphs that really adds detail. Think of it as just drawing little lines. Of course you can do this in gouache if you want. But I prefer if I can just add in some of this stuff while the paint still drawing. Because when you start playing around with gouache, I find sometimes you can lose that freshness of that watercolors. You do have to be a little bit more mindful with these ones around the figures as well, neither walking. Something here. Of course, I hadn't intended for there to be a path or something near this section but kinda lost a bit of that path. That's okay. Not be, we'll put it back in later. Scratch out a branch or something like that here as well. Another branch. One of the most useful little techniques. But again, it's one of those things that you don't want to overdo. It does add some interesting textures and I think it takes you the painting to the next level. Use the tip of the blade in some areas. Good. Alright, let's go ahead and start detailing the trees a little bit. I'm going to pick up some of this darker black color, but I'll mix in some brown into this as well. And what I want us to get in a bit of the right-hand side of this tree. The darkness on the right-hand side of the tree. Blend it into the ground a little bit. Okay. Touch of that. Maybe you don't want to leave a bit of highlights or some lighter areas and the right-hand side I'm sorry, left-hand side of the tree. Like that. I'm using mostly paint's probably 80 per cent paint, 20% water, and pretty dark as you can see, when I'm leaving behind some of that sort of grayish color in some areas of the trees. And just a bit of an edge, sharper edge as well. What we can do is actually blend this larger section of the tree with the darker section later. Okay? But for now I just want you to focus on getting in the branches and the details of these branches. I'm using the flat brush because it has a kind of irregular feel to it at times. And I like that because it creates a bit of randomness in my brush strokes makes the trees look a bit more realistic. In my opinion. Is that one here, this tree here, quite dark. It gets the base. We can actually pick up some black, can drop that in at the base as well. If you want to emphasize that further. I do like the brown there. The brown just does give it a bit more. Shockley sort of color. I really like. I mean, it's not exactly as the references which is more sort of these grayish undertones to the tree. Okay? But I actually prefer it this way. That branch look at that just comes through the scene and it's really going to have to join up a lot of these bits and pieces here in the background as well. Okay? Just make sure the branches in the background, they're thinner and thinner and a little bit lighter than the ones in the foreground. Help to push those trees back in touch. Okay. Black here to just indicate the trunk of that tree, somewhere like that. Here we go, just starting to work on these other tree trunks as well. Here are some more brown perhaps there. And look at the way I'm holding the brush as well. I'm holding it on the backend. This allows me to just getting these branches with a bit more randomness and they appear slightly shaky. But they actually look more realistic when you do it this way. That just getting some more of these branches song comes all the way through and goes up. There's another one that comes around here, that just odd-looking branch here. Just kinda squiggly looking thing running towards the right. And knowing that you've got some other branches that are coming in from this right-hand side of the scene, as you can see here. And joining on to the tree as well. These trees. I don't want to overdo these ones to the right, but I do want to indicate that they are there something just this constant continuation of the branches in some way or form. Okay. It's a bit here as well like that. You will notice as you get further away from the trunks, the branches start taking them or winery and thinner appearance. So that's why I actually see I'm just adding in some little ones, going off on a tangent and just interrupting what's happening, um, through the center. And if you've got a small rigger brush also helps a little rigger brush. It will rigger brush. Notice it just helps. Detailing really. You don't have to and think too much. Okay. It'll all little branches that come off trees you can see him just tiny ones that just sort of disappear off. I want to get some more thicker, darker paint as well. Make this look more complicated than it actually does. Go. You can skip some areas as well. If you notice, like, I might not draw the whole line of the branch. I will just skip like a section like that and just carry on. That helps to indicate the light just catching on to the branches. Okay. Notice with the rigor brush, it just, you can already see how much easier it is for me to create small details in this tree. Even some of these here in the background. Yeah, much easier to shore area. I think we need some more just here as well. That good. This one probably needs a bit more warmth to it. Some more volume on that branch, I think would be better. Speed of volume there and like a thicker branch, I suppose. Okay, Oops. Connected up to the background shapes as well. Background trees so that they interact and intersect with each other. But you can still see both of those branches going in the opposite directions. Just continuing on and adding more detail as you see fit really do like this tree right in the center. And it's kind of like, I think it's like the feature of this scene. Overall when I'm spending more time on it than other parts of the reference site, e.g. this tree on the left, it's important as well. But I don't have as much emphasis on it. I'd say is that tree in the center? I will just try to blend this on with the ground to touch as well. Like that. Defeat of this, this feathering in on the ground to join join the trunk of the tree on the ground a bit. Okay. And the shadow, more importantly, just to connected on with the shadow. Feathering is like a dry brush technique, just picking up a bit of that paint on the brush, drying it off and on the towel. Just feathering that in to the ground. Like this. And you can get some nice blended affects nicely. Once it starts blending, I think just say just leave it and let it do its thing. But you can also get some of these darker bits of grass. You can see just softer but still running through the scene like that. They're probably this little tiny little fan brush will do me some good. Actually, just to feather in some darker spots of green and darker bits patches of grass, but you can still see the individual strands of them as well. It's important to have the grass running in different directions as well. And having grass that's different shades. Just a bit of this darker, darker grass running in areas as well. You'd be surprised that how, how much it makes a difference, terms of creating this illusion of detail in depth. More here. Let's continue on. Just want to work on this tree, touch and detail more. You do the same thing with this one too. Just getting some darker. These are just black, pure black that I'm using here for these branches. Okay. I might actually dropping a touch of green in the leaves. Some that sun-like little bit of, tiny bit of green or something in some areas, like here. In maybe the fan brush, it could just look more natural like that. Green maybe with a bit of white, green and then a bit of white gouache. Well, it's not white quash, but just white watercolor paint. To mimic this kind of color, this lighter shade of green or whatever running through the trees. Okay. Not much. Just a touch of that here in there because I really liked these branches and you shame if they were all just to kinda disappear under this mat of matter of color, then I'm adding in here. Of course it needs to be a bit more dimensional. Some darker bits as well. I'm just the same color. This fan brush works quite well. Actually two, indicates some of this that I'm overdoing it here as well, just feathering the scene. Maybe spray that a little bit. Encourage it to settle. Some more of the black to just kind of blend that in a touch to the leaves. And because I think I've actually lost some of that detail of the branches. But I can get in some beautiful wet-in-wet work here with the branches is you use the black paint straight from the palette. Don't mix it at all. And it will melt in, will just melt into the screen. And keep the green as well. These, this nice areas that we painted in. But just restate the branches. And don't worry if you end up going through the green as well, the branches will just melt in and incorporate until the entire structure of the tree. Okay? One of the most enjoyable thing to do is just painting trees. There's not, I mean, there's a general pattern that you follow with the branches, but most pot, you have a lot of freedom. You can see these little details like that, just tiny little branches and things that I can indicate. Real quick dry. 13. Nature Scene: Finishing: A couple of figures here that's putting some details for these figures. Going to actually use some blue. Maybe for this one on the right, just a bit of turquoise color or bluish color like that. And then one on the left, I might just mixing a bit of gouache and a bit of red. Just bring them out of touch. That's just kinda like a shirt or something like that. Doesn't really matter. Whereas it sticks out and touch. I'm going to use some red because it's kind of a complimentary color. And the feet I'm going to pick up just black color. And we will indicate that drift while the paper is still wet, the paint is still wet on the body of the figure anyway. Like that. You've got these feet facing forwards. Maybe just these two people just walking through and little shadow running to the right as well. That quick little quick little couple of figures. Hair or something to them. A little bit of hair that they're talking to each other, maybe wash and a bit of red indication, maybe like hands or something. Faces in touch, a color for the face. Just basic stuff, um, indications but not not trying to detail too much. Often off a bit. It look like to people just walking together and to people. So often that shadow off a touch from house and the background. I think I'll actually put in a bit of a cooler color at the base or something. Something just to dial it down a bit. There we go. Just a bit of a cooler color at the base of that in here as well. I've just got the rooftops exposed like that. Can kinda putting some some little marks coming across the roof like that and maybe an option as well, something like that. Don't really think it's a huge deal. Okay. Little window or something there or whatever. Often the distance that let's use a bit of gouache and a bit of yellow together. A bit of white gouache and just quinacridone yellow. You create myself a lighter yellow color that I will now used apps. Just feathering to the left-hand side of this tree or I want to be, you gotta be very sparing with this as well. So drawing that brush off a bit and then just like feathering it in to the left-hand side of the trees. And this way you can just indicate the light, little bit of light coming in from the left. The scene. Really depends how much you want to emphasize this, but I will make it fairly obvious in parts of it anyway. Not all part, not all the entire tree, but just the main branches. I think this would look pretty interesting. Even here. Whoops, too much. Let's just do that bit of that yellow. Yellow in white gouache. Okay. So what is the yellow white gouache? Okay. There we go. Yeah. This is basically just creating some light lighting effects. Okay, renewing on pure white gouache. Just to highlight some details on these figures. Shoulders, mainly in the head of the fingers like that. Just bring them out of the darkness. Touch like this. Good. Maybe dropping a bit of yellow. Why not spray down the bottom? I'm just going to, I thought I might add in some little flowers or something just to, just for fun. A few little speckles of gouache or paint running through here. Just a bit of gouache and a bit of, um, yeah, a bit of little bit of gouache and a bit of yellow or whatever color you want to add in here anyway. And, um, you can just get that to blend in a touch. Is you lose, yeah, maybe some parts. And it melts in nicely. So it creates a bit of a different texture and shape here. Yeah. You should create some of the stems or whatever. A little rigor indicate. Some of them may be. Balance it out a bit to the right. Just soft and a bit of that off the figures. That was the kind of looks a bit too harsh at the moment. Just soft enough of it there. Yeah. I mean, the figures are more just implied, but you can definitely tell two people play around with the filbert brush and just soften fill brushes. Basically, like a flat brush is wet it slightly dry it off and you can do is kind of blend, pick up bit of water and just rub away some sections of the paint and just lift off. And I'm just kinda blend and joined together. Any of these hard edges that look a bit out of place. I have noticed, especially with the gouache, may have overdone it in places. So you can actually just pick up that gouache lifted off completely and expose the the backing backing wash like that. But in some areas, I think he wanted to leave it on. But look at how it's blending nicely together. Looks a bit more realistic this way. You just blend that on liftoff groups. Some reason I picked up a lot of paint there. If tough here, blend here, liftoff. Liftoff. Just use a bit of a tissue paper with stuff like that. You get a bit of a softer look when you do this. But I'm still maintaining a little bit of that gouache. Little bit of white gouache look on the paper as well in parts for some highlights, some interesting highlights. Just keep on doing this and just lifting paint off till you get to a point with a tree, start looking a bit more realistic. And it creates kind of like this texture. Nice little texture in the trunks. Again, I want to be careful. I don't want to spend all day doing this as well. Okay. But I think we're done. 14. Honfleur, France: Drawing: Let's go ahead and get started with. The drawing is quite complex. There's a lot of shapes in here, but we just have to remember at the end of the day they are shapes. And we can pick and choose what we want to include and exclude, including all of these little boats. So I am going to put in the line just at the back, roughly signifying the area or I guess the line where the water touches the land and it's not in the center of the page, but it's a little bit further down, so I'm gonna give it a bit of room probably. Let's just estimate roughly around here. Okay? So using that pencil to put in a bit of that line work, okay? This may change later on. I've changed things up every now and then, but this line has to be fairly accurate. But again, there's a bit of wiggle room. Later on if you do decide. First thing I want to do, I'm just thinking to myself, what is probably the easiest is the easiest part to do is the boat, some of these little boats and they don't really small as well. There are some that I wrote out the back here. That's a bit of a dark or something like that. But you've got a section here just of the front of the boat like that. Coming out of the side, these side parts of the boats just like that. And they all kind of line up. If you look at them from the side, they're almost like a rectangular shape. Just reduce them down to that sort of shape. And on top, you've got these white areas there. As you can see in there. Just like the areas where you've got bits and pieces that connect to the mast and these kind of errors go up into the sky like that. Okay, you've got this larger one here. And I am not really getting too bogged down in terms of all how many of these boats there are. I'm just picking a few. Okay. This one here is pretty big as well. I mean, it goes all the way down like this and then to the right disappears off into the back. Complicated bit more complicated than the others. But the main thing is to get that little center part there that separates the boat. And it comes up to the top of this little, tiny little point there like that. Again, there's, of course lots of details in here, this section, the button here, just, I don't have a whole lot of clue about boats, but we can look at it in terms of shapes and draw the shapes. This one here, it's getting close to the middle, but it's not 100% in the middle. Central line. Like that. You've got a bit of that light running to the left of the boat. Then again, this part just going over to the back, you really just getting a little glimpse of the side of that boat. Ship. The reasons the ships on a boat. There we go. Just a few little bits and pieces like that and rigging, that sort of stuff. And the ones in the back here, there's a couple here, the back, but you can't see all too much about what's going on. You kinda get a glimpse of the side of them, but just bit more abstract as we move along the back like that. As long as you've got a bunch of them that do make sense. 100% fine. Okay? Again, this is that area where the land connects on or this kind of war can exon to the sea water. So I'm just indicating that wall a bit like that. Okay. Why am I doing these boats first? Because if we do the boats first, we don't have to worry about all these cutting around stuff. I mean, there's a lot of buildings in the background that can get quite tricky. So I want to, while we're in the mood of drawing boats, I will put in this one here in the front. Now, the ones in the front are where you just have to take some extra care. And the reason for that is because they are closer to the scene. Because they closer, they're going to be more detailed. The viewer is going to have a better impression of what's going on. So you are going to need to just spend a bit more time drawing. And that's the side of it. I'm just taking some details. The bottom of the boat there, the back of the book you can see kinda comes down. It's like a rectangular shape there at the back. There's even like an engine here you can see this is sort of dark colored engine sticking up like that at the back. But of course you've got the main sort of rectangular part of that boat which connects up. Okay. That's it. I mean, that's really all you need for that. I mean, there's a few bits and pieces here as well and a bit of darker part underneath that. The boat. There's not a whole lot. You want to put in here. Of course, you can color that side into just signify a bit of the darkness on the right-hand side of the boat. The light source is coming from the left. There's something here in the foreground. I'm not going to bother with that. This here looks to be some kind of boat seen from the back. So I'll just put in that spec section like that. Kind of shifts over to the front, smaller kind of smaller little boat there. We don't need a whole lot inside just a bit there to signify whats going on. We might have this other one here as well. To the right-hand side. Very tricky really to see exactly the details of it, but that's the back-end of the boat. And then you've got the bit that touches the water and it comes up like that, like that. Then you've got another one, another, another part there. The engine like that as well. Okay. This one is kinda be again, a bit of a shadow coming to the right-hand side like that. Okay. And let's have a look. What else do we have? We've got this really large boat here. I'm going to just simplify the back of it down. Again, this rectangular shape like this, kinda coming out there and then coming out towards the front of the boat like this that you've got inside of the boat like this as well, kind of going up this top section here. There. Okay. That the side of it there, this part here is all going to be pretty much in the darkness like that. So pretty, pretty large, pretty large boat. But it's close to the foreground, so we do need to just put in a bit more detail there. Okay? So their reflections on these boats are gonna be interesting as well to get in. You can see behind these boats as well, There's, of course there's other smaller ones and little detailed sections which I am going to add in a bit later. But for the time being, I'm just going to simplify these other boats down like that, just the back of it. A rectangular shape and you can see the mass sort of go up as well. Okay. This one's got like a little flag there, but that's really bad it for the boats. I don't think I want to put any more, Ian. I'm quite happy with how that looks. You get these little balls and the water as well. I mean, it's up to you whether you want to put put all these in or not. Some of these are good just to get an a bit of a reflection in the water. A larger one here, exempt e.g. like closer to the front of the scene as well, just to indicate that sense of scale as we move in. But let's get into the fun bit and that's drawing these buildings. And again, we don't have to draw them exactly as per the reference, but I want to take this and make, make sure that I've got enough detail back there. I really like these buildings and the light pattern on them is fascinating as well. You can see here there's like a building here. It's kind of covered with some trees at the front. So I'm going to just obscure part of that, this building. But really we've got these three points there, this sort of triangular section of that roof. And we've got the bottom part, like that. What have we got here? There's maybe another something building behind there like that. We've got another house here. And of course, the houses have all these kind of complicated details on them. But if e.g. these little chimney, you don't have to really put that in if you don't want to. But just make sure you've gotten rid of that dimensionality for the side of the roof as you can see there. Okay? And go a bit darker and start connecting these up a bit. And take some extra time to draw in these lines and don't be afraid of going a little darker as well. What you're going to find is that as you add some water in here, it's actually going to start dissipating the dissipating away that, that graphite. Interestingly, we actually have some little cars here. They're just part, you can't really see them, but they're just part small little cars. Just park them towards and away from the water. Think about how I'm going to do this exactly because I don't want them to look too obvious. But at the same time, they do add a bit of interests back there. Center of the scene. I'm going to just mark that out roughly here. Center of the scene. We have this kind of larger building, the tall section of that building and the two side parts I'm going to draw that in. Let's go e.g. I'm going to put that top part of this side of the building here. The center part looks like a towel or something like that. Okay. Let's have a look. Is that tall enough? We'll look at that roof top of that building. The roof top of this one starts roughly at the end of that one. So I'd say that's in a good position. Everything's in relation to one another when you're drawing. You can't have something that's too large in comparison to everything else. Okay. Perspective wise, that's the other side of the rooftop. And it's not exactly as per the reference, but as you can see, we have good indication of what's going on. Notice that I am simplifying the details as well. I'm not really going in there and trying to add in a whole lot of detail, even some trees here. But the main parts, especially when we're looking at the rooftops, okay. Notice I use a lot of dots and I connect the dots up when I'm drawing. This helps with accuracy and with broken lines and stuff like that. You can really make sense of what's going on a bit better. This center part bit tricky, but again, drawing that dot up the top there, roughly where that building finishes. This I don't know what it is. It's like a little tower or something because then I'm gonna go in like that, like that. And we have the top part of this top part of this Building. It's like a tower, I suppose, like in the center. And there's just lots of little details in here. Really quite a nice, relaxed that segment. And of course, you can do things like shade attached, like they're here just to remind yourself that there is, of course, some shadows coming across this side of the building is kind of like that rooftop. There is some element of shadow on it as well, but it's still got still sunlit, but not as that up is that one there? So I'm going to go in. You can see just the houses overlap and create a lot of intricate details. Okay. I'm gonna get in the sort of, I don't know what it is, this sort of design of the roof of that house. Okay. That's kinda like a rectangle or square or something on top and then there it is. Okay, we get this one in as well. And like I said, I am not. Mining means trying to get it in 100% accurately. But I want to create an impression of these rooftops. And that's going to give a sense of location, context. Probably don't see these houses all over the place. So this will give a bit more context as to what we're dealing with when the viewer looks at this particular scene, they may recognize it. So that's something I think is important. You need to give enough context as to the location. If of course, your aim is to imply this particular scene. Might hear, there's actually a lot of darkness in here, but I'm undecided at the moment with the painting as to whether I will leave this side of the building kind of more colored in or not. In fact, this part of the building actually comes in front of it, more like that. Let's just, let's just, let's just do that. Make that building chop in front like that. Got a bit of darkness can have a bit of light hitting in front like that. Okay. Not a big deal. And let's have a look. What else we got here. More of these intersecting rooftops and things. You can see him. This stuff, I am just going to simplify down. I'm not even going to try to getting all the details of those buildings. There is a pretty large one here, which I need to do this. It's kinda getting closer to the front of the scene. And this top part of the building like that there that have that one come down here like that. And of course, like I said, the top parts of these buildings have all these details in here. And you can spend all day doing this. Guys, you can spend all day doing this, but my aim is just to get an impression. And you can just make them stick out a bit like that and I get them all in one go. But you've got light hitting the left side of this building. Lots of little details in here that we can put together. But really, I hope to just simplify this, a lot of this down to one big wash and getting, getting some more details more. So in the center of the page here, okay. Great. Put someone on this boat. Let's put a person standing around on this boat like that. We can also put another person here on this boat. Why not just we've got a bit of detail and we can maybe two people on the boat. I'm doing a bit of work on there or something. Okay. This guy could even be sort of sitting down or whatever at the bottom of that bird. But this is giving it a little bit of extra character, better detail. And apart from that, I think we're ready to get started. 15. Honfleur, France: Lights: Okay, let's go ahead and start with the first wash. And I will be using a large brush. Because I want to just get all this in pretty quickly in terms of the buildings in the back. And another thing I wanna do is try to preserve bit of white on the, on the boats. Also little bit of the, the color of the buildings running into the water like the warmth of the buildings. Because we're going to have to do the water roughly at the same time as well when this first wash, it's quite crucial to do all this at once. So firstly, I'm going to start off with the sky, nice wash of cerulean blue. And we're looking at 90% water, 10% paint, really very, very mild. Not much color in there at all. I want that sky to be nice and nice and light. Start at the top. This is roughly what I'm looking at. Oh, actually use a larger mop brush for the sky. This is just going to give me, save me some time. There we go. Large mop brush, easy. Drop that in there. Move that down, reload the brush, continue down. This is basically just utilizing a flat wash. And I've also mixed in a bit of gray in here just on my palette so that the sky doesn't have just too much saturation, too much saturated color in there. I want it to be blue, but I don't want it to really detract from the rest of the scene. Pay nice flat wash of blue like that. And notice how I'm just doing a little bit of cutting around work as well. Okay. Like that. Maybe putting in a bit of gray or something here at the base. Okay. Just to dial it down a touch. I can do the same here. Tiny bit of gray paint. If you go over the sum of these buildings a little bit, Don't stress because at the end of the day, we're just trying to put in some of these base colors. We're not trying to get in anything, any details or anything too serious just yet. Sometimes a little little bit of this gray for cloud or something like that does help look at how we can have quick you can just put in a bit of that Cloud by using using some leftover paint on the palette bit of blue, bit of neutral tint, mixed together blue and neutral tint. Okay. I can just drop in this darker cloud or something. It's not even that I put just these clouds running across the scene like that. You can actually see it in the reference photo. They're not actually dark in the reference, them more lighter clouds, but this is just another way of doing it. Can you see the clouds just run through the scene and they create a bit of interests. Don't know if know what kind of clouds these are, but you get these longer ones, wispy ones like that. Okay? And I think it makes the scene look a bit more interesting. Anyway. Alright, I'm gonna leave that I'm quite happy with how that looks. Simple, sky. Let's go into the buildings. I've got yellow, I've got a bit of really vibrant yellow here, but almost too vibrant. Okay. I just wanted to make sure I've got enough of this color, this little bit of yellow ocher in there. Alright, but putting the yellow ocher first and then what I'll do is actually dropping some of the vibrancy in a moment. Alright? A lot of these buildings, if you look at them, they're very, very similar in color. All want to do is just getting a race shaded this warmer color. Okay, got all these boats and stuff here in the background as well, which we're going to, I'm going to put in some sort of cooler colors for some of the boats and also just leave some of them are white. So cut around the boats. Don't be too tricky. Happy with those cut around them like that. You can leave a bit of that bit of that light on them and getting some additional colors later. Now, we might want some extra vibrancy or some extra vibrancy and some of the buildings here. So I'm just putting in a bit of this Kronecker don't yellow. On the areas of the building that I want to imply some more attention, but as saturated color there, draw the viewer's eye to that particular section, painting a little bit there, and the rest of them here on the right. Again, this is just a bit of yellow ochre. Drop that in there. I've even got over here some burnt sienna, great color that you can also use four parts of these buildings just to change things up a little bit. We've got browns, you've got some of this yellow in here. Maybe a bit of purple would be good as well. Touch of purple. Pick up some of these stuff here. It'd be the purple. Okay. Then just to be a coolness, don't go too, too heavy with that though. I just wanted to leave some of this into later, later on. Let's second wash. Do keep in mind that we are really just putting in base colors. First, a light wash over everything. A little bit of this burnt sienna on the top of these buildings. You can see, I thought why not just dropping a touch here to create a bit of variation, softening it down a bit. I'm just noticed I went a bit overboard, so just soften it down. Pick up a bit more, drop it back in there. Like that. Okay. Good. So we getting closer very close to the water now, here is where you got to be a little bit careful. I'm going to pick up some blue, a little bit of cerulean. And I'm going to drop it in some of these, but it's a little bit of this blue. I've also got some ultramarine blue. So let's get into a bit of the ultramarine as well. In here. Remember, we're just dealing with real basic colors. I'm not I'm not trying to put in the details of the boats just a little bit of the color on the side of the boats. As long as I've got myself a bit of a cooler color back in there, I'm really not fast. But there's, of course there are some boats and things like that back in that section as well. Okay. Alright. And it hits the water roughly here. And let's go ahead and start with the water. Working down the page. I'm going to pick up some warmer colors. And the trick is, I just want to pick up but a yellow, same yellow I've used for the building, but I'm going to mix in a bit of gray, neutral tint in there just to tone it down a touch, darken it down to touch. And in areas that I want to maybe reflect some of the building in the water. Look at that. I'm just dragging that brush down carefully these figures, I don't want to go over them too much, but we've gotten that one bit of this little reflection of that house here. You don't want to do it for every single thing, but it does help. Certainly does help. Okay, Just a bit of that. And not going to keep all of these reflections, we will eliminate some of these in a moment. But you can see there is some, a little bit of warmth and reflection of the buildings in the water. And I think that's important to imply like that. Just a simple little impression. I mean, some of it does go down a little bit further. Really depends how much you want to put in there. I will grab a bit of this purple and drop that in at the bottom of the the boats just to touch their little bit there, just to remind myself that's the base of these boats. Again, we're going to need to detail those boats a fair bit afterwards. More ultramarine blue, I'm going to mix up that plus some cerulean blue, cerulean plus ultramarine blue. You're gonna get yourself a lake. Almost a greenish blue. It's still mostly blue, but really just like a darker reflection of what we have in the sky. And I'm using the same mop brush, really swapped to a smaller mop brush like this one here. If you want to be more careful with what you're doing. And look at how I'm just picking up a bit of this paint. Cutting around the boat like that. You're shaping the boats really by just doing a bit of cutting around work. As, as we get further down the page, you'll notice sometimes that the water does tend to. Dry off a bit so I can just spray it off here. The yellow tends to draw off a bit on, spray it down a bit so that it encourages the blue to mix in a little bit more so that we get some softness in these mixes. Don't want I don't want it to be all too easy to shop in here. Okay. You can even drop in yellow in here into the water if you think that's going to also help. That's a good little technique as well as introduce a bit of warmth. And we'll go back to that blue. Dropping that blue and a bit of the ultramarine as well. Okay, just cutting around that boat and some of the details in the background. Look at that. What you're doing is just adding in a bit of the color of the water. And remember the water is also fairly dark. So much the dark section, the painting besides the bottoms are the boats and things like that. If you get little bits of white in the water as well, don't panic, just leave it. Because you can use them as little highlights. We will highlight in the water. Here, look at that. It's starting to dry off already. So I've got to get in there quickly in and do my thing there. Carry this down. Okay. And like I said, these little bits a spark when things on the water with a brush just skips over. Just let it be don't change it up, don't try to fix everything up. That's the beautiful quality that you get with textured paper. Some of these incidental highlights that will help to make the painting look more interesting later on. Okay. So at this point, you can see here we have a lot of the details in already. I mean, we really just need to get in maybe some reflections on the water for the boats. I'm going to use some white gouache potentially later on to just highlight those areas and areas beneath these boats here in the foreground. But while we can, the paint is still wet and so I'm going to pick up some purple, a bit of black color. And what we can do is we can actually dropping a little bit of this like that, just some little incidental waves and things like he especially in the foreground. But do it quickly and don't over do it as well. Okay, just dropping in a bit of this paint and this will melt in and create what looks to be some little waves running across the surface of the water. You do have some over in the back as well when they get a lot smaller and you just have to be careful feather that in touch and go and don't spend too much time in there. Some of them may turn out a bit sharp and depending on how dry the paper is. Okay, Of course, early closer to the front you're gonna get more blending because we have we have paper that's still wet. More purple in here, a bit more blue and neutral tint just, I just want to subdue this down a little bit. Okay. So we've got a bit of the reflections of the buildings. We've got a bit of the waves on the water. And you've got a bit of everything here. And what I'll do, I'm going to draw this one off and we'll get started on the second wash. 16. Honfleur, France: Darks: Okay guys, Now for the fun part, we're going to put in the shadows. We're going to get into all the details of the buildings, of the boats pretty much in the same wash and adding some finishing touches at the end. And first thing I want to do is actually work on these buildings in the background. I'm going to mix myself up a neutral color. Really just like a darker gray color. I've got some neutral tint. But putting a bit of blue in there, a little bit more extra blue, brown, brownish sort of blue color. Let's have a try on this and we want to make sure that this mixture is 50 per cent paint, 50% water. It's I mean, this is almost the darker section of the scene. All these the shadows on the buildings, but we still want the wash to be transparent. Mix up a dark color, and look at that. I'm just going in. It's fairly dark but it's still, I'm transparent. You can still see that previous washing they're going through and look at that are all I'm doing is just putting in this sort of detail of the side of the building where we've got some of this shadow. You see some of it actually goes off into the background like that. Like that. Just touching go. And you can go in and just fix up a bits and pieces while the painting is still wet. The rooftop, I am going to get this one and actually bit darker here. It's fairly dark that one just putting you only have one chance to do this. So take your time. And that's why I sort of draw off the papers. Well, because I can actually get closer to the page to do this type of work and look at that just painted in. I've got enough color left as well. Some of these little highlights here left on the side of the look of that, these little highlights and I'm just leaving off as well can imply some details on the buildings. And there's a little shadow here on that building coming downwards like that side of that building, bit of that shadow. Nice little impression. That's what I mean when you don't have to get all the details in with the pencil, I just leave it as long as I've got enough to signify where all the buildings and other major shapes are. The rest of it we can deal with. As we paint. Look at that. I'm just getting in this darker section of the right-hand side of this tower. Color that in It's just, it's really just a matter of coloring it in. It's not too tricky at all. Just a couple of windows you can see on that building you've got some little, these little bits on top of the on top as well, that there's a little flag here as well. I will put in some little bit more details with that flag. Look at that. Just add in a little bit of extra detail on here. We're following that same light patent light coming in from the left-hand side. This house here is pretty much in the dark, but I can try something here and just leave out the front of that house. And then we can getting a sense of light there as well. Just strengthening sense of light. Even though in the scene There's really, it's quite dark that entire house. I can just change it up my own way. Okay. Let's get the roof for this one in first like that, the side of that building. I'm having a look at it and thinking is that does that really look right now? We can maybe just dark and down the side of it like that, but we still have a touch of lights in there. Okay. Be the light there. I've got these kind of bushes and things that just run through in the back then Xi and they just join on and do their own little thing here. And there is a little wall in front here. You can see there's like a wall and I'm just going to put in that wall like that. There's a high lighted bit there. Looks like some steps that just go down into near to the water area back there. Can you but really at the back you've just got like a road that runs across like that. Look at how I'm doing all this really in just one brush strokes, few little brush strokes until it reaches these appointed, these boats here. You've even got cars that are situated in front. I'm going to signify. Then with just a few little boxy like shapes. Later on, I'll actually use some gouache as well and indicate a little bit more detail. You have to realize, well, a lot of these boats are pretty quiet, dark spots. And so you're gonna get bits and pieces in here. E.g. this part here, you definitely lot darker on the right-hand side of that boat, so I can just dark in that slide down like that. But still left in a bit of that light blue in areas there. The trick is I'm just getting it to melting. Join on with everything else. I've painted more neutral tint, little bit more neutral tint of I got starting to work on this building here as well. Okay. The background that just joining that up, the rooftop, that rooftops gonna be dark here. The light's going to hit the left side of the building. More brown in that mix, warmer color like that. Bits here. Just coming down. The interesting thing about these boats is that again, you're going to have a lot of whites in here, which I will work on later on with some gouache. But for the time being, we don't need to think about that. Here's another part of this building here and the roof top there, see it just again, you just picking out bits and pieces and you're leaving out the light, this warm colored light, the k. And you can just indicate a bit of detail on the top of the building like that touch of that detail. And really makes a difference. All kinds of stuff coming in front of that building as well. Like that. They're all this stuff here. Look at that. You've just got a mess. All kinds of stuff going on in here. And we can sit and foster around with it. But all we need to do is try to get this in with a quick little wash. And remember to leave out some of the little details, the little highlights on the rooftop. Okay? And that's going to imply light running through this section. Okay. Little bit of detail, but not kind of overwhelmed what we're what we're doing. Yeah. Because through chimney or something there is actually another not gotten in this building. We just try to get it in here. Darker section of a building running behind there. Like that. This is also got some shadow running down the side. I'm just picking out shapes. At this point. I don't know exactly even when I'm painting, I'm just looking at the light and the dark areas, trying to get in some little details in here. A lot of it is just making sure I'm cutting around leaving some of that previous wash in there. Okay. Nice blue areas and the boats well, we want to leave some of that stuff on there. Okay. Even around the boats, you will notice it's actually pretty dark. I mean, even around here, you've got a lot of almost pure black. With a boats. Ships dock onto some areas and latch on. So we could do with a touch of darkness running through in here, but a strength that in bits sort of places. So easy to start losing track of what we actually have going on in here. So we gotta be careful. Bottom of the boats here we've got like a darker line. Can you see that there's a bit of a darker line at the bottom of the boat and these signifies where the boats hit the water. That here we've got another one as well like that. Look at that just where it hits the water is coupled here in the background. You can't really see what's going on, but they intersect with each other like this one here as well. Look tentatively marking the page before I go in and draw that line fully. Like that is part of the peer or something in there as well. It's actually darker. I'll just adding a bit of extra paint like that. Something like that. Okay. It's not the end. This is just getting in some little details to start off with. Right here. I'm just going to put in a bit of this front part of this boat. Know it sort of comes down like that, like that. And again, emphasize. Another bit of darkness on the right-hand side of the boats here like this. This is again just indicating that light source coming from the left. Some of them you don't really need to do much like that one. There is good. That one there can just redo that a touch, touch like that. Okay. Once we get into a bit of white back there, it's gonna make a lot more sense. Okay, here we go a bit more of these boats here. A touch of darkness at the base of the boats does help. Some of them are a little darker as well like that one. And again, the light source on these boats are just following the same light source as we get up there. There's light coming in from the left, so we're going to get a bit of darkness on the right-hand side of the boats were just kinda color that in like they're just following the following that down. And just getting this section there that you're looking at, these little bullets and things. They've got Highlights, little car lot, lots on there as well. I'm just using the same sort of grayish blue color that I've got. This is darker than the water. The air the boat is darker than the water. So we're okay to go in there and get it in. There's also this window here just back part of the boat like that. Okay. Look at that. Kinda looks like a boat already. A little bit of detail on the inside of it. Same shadow pattern on this one. Just again, same thing like that. Going up and leaving the insides of the white section of that boat in there as well for some highlights. This one here, I'm going to this one's kind of interesting. I might just leave it as it is. Like that bit of flights on the darkness on the right-hand side of it. It's mostly just white color in there, but the base of it. We do need some more darkness and we'll do it here as well. Just a bit of darkness at the base of the boat like that. Some of the reflections of white reflections we're going to get in later with some gouache. So let's not worry too much about that yet. Find that if I can just focus on getting in a nice clean wash, rather than trying to fiddle around and try to cut around all the little highlights. Because if you're not careful, you can ruin a really good wash and get some disjointed segments in there. So that's why I sort of use gouache at the end. If I can. Here, this darkness on the right-hand side of the boat. Again, we're looking at that light source coming from the left-hand side of the scene. Okay. Take a bit more clear here too. Of course, indicate the details because again, we are looking at a subject that's near the front of the scene. So there'll be more details that you have to indicate in here. There's a little engine because that's channel like a rectangular block with an extension out there. Then you've got a kind of a roundish shape. There you go. That's a, that's an engine. We can do it for this one as well because this rectangular block out here comes out, extends out the back and has some bits and pieces flying off. Flying off. But you know what I mean? Like that. This is looking pretty decent already for all little shadows and I think little impression we're doing well. I'm just tidy up a few bits off in the back section. Really just picking up for me anyway, I'm just picking up some really dark colors. So I've got some black. Okay, just black, pure black. And looking around and thinking, well, I've got a bit of a window here. Maybe dry off the brush pickup, be that black, dry off the brush and then you can just indicate a touch of that. I know like, I don't know what this is. Like a touch of that window or something here, like the side entrance or whatever that building, you know, you've got some architectural details. This is just just using a little, little, little flat brush. You'll notice near the rooftops near is there's some extra shadows, extra darkness and areas. Look, that's a window. There. You've got these couple of windows here, don't worry, we won't touch those too much. Here. Here. Just little areas that you might want to indicate. Look where else can we put in some details, just segments. You can even just make up some windows on the sides of the buildings like that. What's on this one? We beat of darkness underneath the roof top like that, maybe a couple of windows here. How about a window or door or something like that? There. Really we're just going in with the darkest colors in the background and indicating, indicating the final darker bits. Okay, this gives, Well, I think it creates a sense of dimensionality. We've also got some of these windows and things on the building just running through that quickly. I can just imply them through these all first because when we go in with the gouache, really go over the top of all this and will lose some of the details. Look at these windows, look, I'm just simplifying them all. Simplifying them. Good. Let's have a look. What else can we do? Who might just add in a quick little line here that that's better. And again, chateau at a bit of shadow on size of that building. And here maybe a little bit of shadow here with a darkness in there and underneath as well. Just fixing up bits and pieces. And actually a little shadow here, like a darker shadow that runs across. It's just subtle but tiny thing like that. Let's have a look. What else do we have? I mean, it's just really at the point here we're on struggling to find any other thing that would potentially add extra value to what I'm doing. I'm want to preserve that, that warmth in there. So important to preserve that warmth. Okay. Alrighty. So let's go in and I'm going to put in some little bits of darkness, the little reflections of the boats, some of the ones in the background as well. Let's go ahead. I'm going to pick up a bit of a cooler gray bit of ultramarine blue mixed in with gray. Sharper reflections or something just underneath. 50% water, 50 per cent paint. Still want enough want enough detail in there. Sorry, not enough transparency in there. I've mixing, mixed in a little bit of the cerulean blue as well. Tiny bit of that cerulean blue. And I'm just going to add in these little indications of these little reflections running across here like that. I can also pick up a small round brush. And the round brush is great also for this sort of detailing work. Okay. Quick indications of these reflections in the background. They come across, come down through the water. Little bits of the sharper reflections I suppose, of the boats and bits and pieces out the back. I'd like to just dark and below the boats more. And then carry on this reflection pattern down the page, joining it onto the boats. Like that. Just a bit. Just this one. Okay. Coming down more, this carrying it on this side as well. Good. Some of these reflections. So the boats and the foreground, let's just do this. I'm gonna go just quickly with this bit of paint there. Quickly. That then here as well. Mostly we're looking at the darker section of the boat there, and we're just creating a mirror image of that. And it's not done. We're going to also go in with some gouache, like I mentioned before, afterwards, but this is going to be a really good start. Okay? Everything. As you move towards the back as well, what you're going to find is that you don't get as many reflections. It's more with the boats here in the foreground that you get more of them. Okay, good. Let's start getting in some details for the boats. And this is my favorite part. I loved playing around with some of the squash. 17. Honfleur, France: Finishing: Okay, Let's go in and getting a bit of this white washing areas to just bring out the details of the boats. And I've actually got myself a small round brush and also a small flat brush like this. I'm using pure white gouache with a touch of water in there just to activate it. And we'll start off here with this button. Oops, too much. Just going to pick that off a bit. Just want to get in a touch of these side of the boat like that. Yeah. That bottom of the bottom of it there. Okay. And we can put in some of the scaffolding and bits and pieces, these white sections of the boat. They just need to be painted once. Little round brush here as well, which I will use to dry it off a bit. You can see all kinds of stuff running around. It's like scaffolding and not actually use a little rigger brush for some of this stuff. It makes it easier. Just a little bit of rigor brush. Let's play around maybe this boat, little boat here. We can just put in like a mask going up into the sky there. We can do it for this one here. This one here as well like that. Bring back some of the whites. Also in the boats. There is not only that, but there's a few boats off in the distance here, which I did not indicate before. And I can just put the mean, you can just redraw them back in with the gouache. Amazingly, it works. Now even little cars and things sitting by the sitting by the back there you can go in and put them in to get all these. You can just put these vertical bits and pieces like that running through the back of the scene. There's so much going on here with little rigger brush. It just does wonders. Each say that you don't have to you don't have to fiddle around too much. And here we go. Some more of this, these white masks and things and rigging of the boats. Just in a bit more on the side of that one there. What else do we have here? There's even some boats back here that I've lost in the in the back there. We can just put something on. He's a bit of detailing on the side of this boat because that tiny bit of detail like that, the white and of course the detailing, scaffolding and stuff gets a bit full-on really, but we've got that rigger brush to save the day. Once again, like that. The bits and pieces going up into the sky. Like I said, I'm not no boat expert, but in certainly know how to draw these paint these lines in and can make them go up in the, in the right direction, connect them on because looking at all the boats, you'd notice that we've actually lost a fair bit of detail. But at the same time, we have, we can bring it back, bring all that white back. To create extra bits and pieces running through here. You only need to imply what's going on. Okay? I think this is the light pole or something, some kind of light pole there. Bits of pieces here at the back is through Chetty or something like that. This boat here just a bit of that white. They're catching that sunlight. My k like that. And you can also do the same thing here with these boats and the foreground, if you feel there's been, you've lost a touch of paint or some detail. You can just go back into it again. Bring back some sharpness. Here like e.g. the top of this bird, I've lost out a bit at the top part so good that I'm just painting it back in. Okay. Giving it a bit more definition here as well as side of that boat near the engine, whatever. And I'm also going to not forget getting some of these reflection in the water. Dial it down a bit with some of this gray gray it down with some remaining color on the page. But look at that. We can get in some of these soft, you just dry brush the scene. Just dry brush it in like that. More here. Let's put a bit in for this one. Maybe here. Touch them like that and I hear maybe just dry brushing it because I don't want it to look too obvious. Trying to get these little ball odd or something in there. You can just carry that downwards there, this boat here, look, it's just S the downward stroke like that's gonna be fine. We shoes at all. Even the collection of the small, this remote little reflections above of the bits and pieces there. Maybe in the water. Sometimes it does help to put in a touch of the gouache just spreading around the water a bit to balance things out. Hey, there we go. Just kinda just incidental highlights, kinda like what I was saying before we left. Part of the water. Some of the little sparkles and things on the water. This helps to just indicate maybe to sunlight or something. Hitting part of the water. Might think it's unnecessary, but actually it makes a big difference. Look at it from a, from a while back, a little while back and actually resistance. And it was kind of interesting. More this boat reflection. Cos like that. Too much. We'll have to leave it though. What else do we have? Another getting another boat here or something? Just just put in another boat shape or whatever. Just the existence of something back there would be nice. Also back there you notice, like I said, these little cars and stuff, I am not interested in getting in all the little details of these cars, but I just dab on a touch like that here and there. And you can actually imply some of that going on. Even in the buildings you notice like the the windows and stuff, you might get a bit of light hitting the left side of the windows and the corners of the buildings. Look at that. And this helps more. Actually sporadic you do this the better it looks. Don't try to be too neat with it. Hold the brush at the end like I am. And I also don't overdo it. Whatever you do, don't overdo it because you can make things just look way too overworked if you're not careful. Okay. Good. Oh, right. There. Some small finishing touches. Left now I will put in I think I'm going to put in some birds with leftover gray paint. Just little v shapes in the sky like that. Look at that. Just got us. There is water and boats and stuff like that. We can't we can't go without a few birds in here. Just these little v shapes, as you can see. Spread them about. Keep it, try to keep them random. Okay, then think about an old too much as well to spread them are about who you are there. Okay? This helps to just join the sky up a touch so that we don't have all the sky disconnected too much from the buildings. Fantastic. Really. It's just at this moment, we're just looking at some details to sharpen up like e.g. the boats, we can go back in here. Okay. Sharpen up some of the windows, some of the shadows of the boats, um, you know, the inside part of that boat like that. Even in here, you'll notice some of these could do with some little tidying up as well here as well. Okay. That they're there. Okay. But I think we are finished. 18. Florence, Italy: Drawing: Okay, so we're gonna go get on with the drawing now. And the first thing that I want to do is add in the area, just the imaginary line that separates the building from the ground. Say, I mean, it's not I wouldn't say it's a third. I wouldn't say it's a quarter, but there is a little bit of a probably a little bit of a distance below, so it's less than a third, I would say of the way up. I'm just going to mark that area roughly here. And I'm going to connect it up. You can change this around a little bit later on as well. Okay. But lightly in pencil just indicate roughly where the bottom of those buildings are. Okay. And probably the easiest thing I think I can start out drawing is if I just mark out roughly the center of the page, maybe a little bit, a little bit right to the center. You can see all the way in the back of the scene, all the buildings and what have you. So I'm going to start out actually here with this, this building, this kind of brownish sort of building here. And it has a tower up the top, somewhere there. I am just at the moment using very light lines to pencil the scene. Because I'm really just estimating how much space I have. So I can go across like this. And this is quite a large building here as well, running across like this. And here there is a side of a building here as well with quite a lot of detail on it. But I will have to just simplify this down a touch. Okay. These pillars just running down the side here. Vertical pillars. And I'm not trying to get in a whole lot of detail in here. Okay. Let's just kind of getting a bit of those pillars and detail for this doorway here you can see there's actually a darker doorway in the center like this running through the pillars. And I'm holding the pencil really quiet far down the back so that I don't get too bogged down in all the details. I'm actually making this more exaggerated than what the reference is showing. On top you've got no, there's all these little figures like a statue or something there. Again, I'm not going to bother with a whole lot of detail there. Bring that up. And we've got a bit of it sort of just popping out. The top there like that. The side of that building just disappears off, That's the rooftop. And you've also got another window up the top here, as you can see, nice little window here. And this vertical line running up the side of the building. The window does have a bit of ornamental sort of frame here as well that just carved into the rock. But this should be good enough indication for what we have here on the right-hand side. Do like that. And I've extended this building out a touch as well. Let's, again, that's just kind of Pennsylvania the rest of the details, this is actually a touch of the roof. Again of the building. This large sort of yellowish building in the center. Let's get in some of these rooftops like that. Okay. Here we've got a pretty large rooftop here. Like that, casting a shadow underneath. There. You've got a window, year window here. Here. These three sets of windows, as you can see like that, How many are there? There's another another row and then you've got the door or something down the bottom. So this here is the door. And of course, a few other doors, like a larger one here as well. We can carry this down a bit further like that. And I'm actually trying to draw a little darker so that you're able to see here on the camera. When I'm doing it can be tricky. I'm going to put a bit more of this 3D, the side of that building here, you can see just a bit more of that left-hand side of the building and turn it more into this rectangular shape. You've also got this archway here as well. This nice little archway, dark and like that. Okay. Something something there. Right. There's actually some more details on top of the building. This. It gets a bit complicated, but I'm going to simplify that down a touch without putting the extra details for it or not. I will decide later. The end of the day with watercolors, we have to remember that we are with your paintings and even general, we have that artistic license. They changed things around if we don't feel like it would add any benefit to your painting, you don't have to include it on. Sometimes the extra details can really detract from the story that you're telling. Of course, we need to create a sense of context here, but at the same time, I don't want to overdo it and have the buildings tell the entire story. Okay. Those are the buildings here. Okay. Let's go ahead on the left-hand side now and putting some of the buildings on the left-hand side. And you can see actually behind here, there's actually some more buildings in the background. I'll just draw a vertical line coming down like this as well and work on some of the buildings in the distance and as far as they are and the distance, you know, you don't need to really indicate a whole lot. You just have to indicate some sort of rectangular shapes and what have you at the back. But all that stuff is going to be simplified down a fair bit later. We do have a building coming in here. I just thought I'd put that in first so that we don't leave out too much space at the back, even this larger building here, I can start putting in a bit of the details of it. Okay. Then top of the roof, top another rooftop or something here. It really is just like a big clump of buildings that I just want to indicate without I'm too much phos K. And look at these two kind of triangular tops of the roof. Roofs here as well. Now you've got here just the largest rooftop and a building just running down the page as well. Look at that. We're pretty much done in terms of those buildings. Okay. I'm already a bit more detail on the ones on the left. We've also got this tower. I love this town. What we've got to put this one in, but I'm going to reduce it down a little bit because it is I feel a little bit too high up and we're going to yeah, it's just going out of the page too much. Okay. So I'm just simplifying that down, just reducing the size of it, a touch like that. Give it a bit more of this 3D quality to it as well. Like that is pretty tall these towers and then something that should do the trick. Something like that. Okay, Let's have a look. What else do we have in here? We have gods, of course, this building. And I'll emphasize the rooftop of touch, a little bit more like that. But really we've got the light coming down the side of this building and I'm actually going to exaggerate that light touch like that. And you can see it just bouncing off the side of the building. All this area here is just darkness. But you've got windows and stuff running through the buildings like that. Bit of shadow here as well. Okay. We don't have to really bother too much with it. I'm going to work on a lot of these shadows later with the watercolor mop brush and just the general washes later. Okay, This one here on the side as well. Look at that. This is going to just be a lot of darkness there, so we don't need to worry about that. So what else do we need to put in? Well, we've got all these cars and details and a bit of their perspective. So let's start with this. Dorms. See the lines just run across and these are kinda like the stairs that are running down this building. I can just put in a bit of that like this. And I can add in a little bit of shadow. And maybe for these two like that, kind looks like it's going up a touch, isn't it? Like this? And they are the stairs that are just running up over here. Very nice. And I will also start putting in some of the details of these cars. Let's put in let's put in this one here first. And look, I'm just tentatively sort of putting in the wind screens, placing the wind screens first and the general boxy shape of the car. And they do overlap with the cars and the back as well. So just another wheel there in the front of the car there. Like that. Simple. Boxy shapes, the ones in the back. You really don't need to emphasize too much that really see the sides of them. Really, except for maybe this one here. And I think we can might thinking whether we should put one right right at the front here. And let's firstly go and get this truck here, like this truck at some of the larger shape, square on the front like that. And it's actually a car running in front of that truck as well, like here. A lot of stuff going on in here. Okay. That will then let's put in a wheel here. Kinda looks a little chaotic, even just this whole scene. And I think I'll leave out that other whether we put in this car or not, I think we'll just leave it out. The scene, I think will look a bit better just without it. Without it there. But we can get this truck in behind. Again, it's just like a box. You can see that side as a windscreen here. Front there is stuff on the back. It's like I could be like a construction picking up some building materials and things in the back like that. In just a bit of darkness underneath as well. Okay. Darkness on the right-hand side of that truck. Bits and pieces of carrying on the top as well. Okay. Look how loose I'm painting all this as well. And then you do have other cars and other objects and things. Yeah. Look at that. This is the front of a car or a van or something like that here as well. Then I can just indicate like that. And there's also a figure person here. Maybe I thought just adding another figure of person walking into the scene, perhaps like this. This is, a lot of this is going to be in the darkness. Bit more details and things here. Now the figure, why not have another figure just at the back here as well? I'm actually lower the head a little bit, something like that. Now the figures were just walking. Perhaps move walking into the scene. Just want to change the position of the legs. I tend to make them look a bit too similar at times. Something like that. We can now put in a few figures here. Maybe have someone that's like walking up the steps like that. This one can be a person walking down the steps like this. Okay. Another person here just walking up the steps? Could be a person just standing here, just waiting or whatever, walking into the scene. And then another figure here, just like to create sometimes a little crowds of people and join them up close to each other. And sometimes they just start looking like they're together or telling a bit of a story. That's looking good. Maybe I can have one larger figure here. There we go. It just a larger figure closer to the front of this scene. And this will help draw the viewer's eye into the scene as well. Okay, fantastic. So let's get started with painting. 19. Florence, Italy: Lights: Okay, So we're gonna begin with this sky. And for that I'm just going to be using some cerulean blue, nice sort of watered down cerulean blue. I've got a medium-sized mop brush here, and this is all just, it's 90% water running through here, not much paint at all. In fact, I'll probably use this larger brush. It's like a goat's goat hair brush that allows me to just pick up more paint and get this done faster. Running through, just gotta be careful around the buildings that you don't go into them. A little bit is fine, but you don't want to you don't want to get any of that blue really into the buildings because otherwise it's going to look too cool. So I can actually do this with this same brush I thought I might add to swap to a smaller brush, but it's definitely there's enough wiggle room in there. Okay. Just a lot wash in the sky. That's all you need. Okay. Still wet so you can just shift that paint around if you feel like that she was cerulean blue granulocytes and often has a very interesting character. I loved the granulation. Okay. But if you feel like a bit of it's dried, more concentrated than you want, you can actually shift that around a touch. Nothing I can do is just pick up a bit of this excess paint at the bottom and the corners like that, just, just finish that off. Now into the buildings, we're going to put in some yellow and browns like burnt sienna and yellow ocher. So actually for this building here, I will start off actually, it's kinda like a lemon yellow color, but with a bit of white mixed into it at the same time, it's like a Naples. Naples yellow. So like a like an off yellow color. And I'm using here, so a bit of titanium white in here to just soften that down a bit so that it's not, so it's not so strong essentially. Alright. Yeah. Okay. You don't want it too saturated and very watery mix, 95% water, and the rest of it paints. So there's really, I mean, there's very little paint in here. Let's put it over on this side. Again, this kind of yellowy off yellow color. Some here like that. Let's have a look in here. Here. Okay. Good bit on the roof top. Brings some of it down further just to get more of that off-white color. Okay. I'll actually get it on this building here as well, because although it is quite dark in the reference photo, a bit of backing color in there would be nice. Okay, let's get it if it mixes around with the blue, no problem, just let it let it do its thing in there. The big things I like to do and always try to make sure that I'm doing is getting the different layers to join together. Here's a bit of burnt sienna. The sienna, which is the chocolatey reddish brown color that we can use for some of the rooftops. Yeah. Okay. Even this building here, I'll put it in a bit of yellow ocher to that. It's not exactly it's not too brown. Gotta be careful as well with it just emerging too much into the sky. And then just lift off a touch of that paint. I feel like it's just gone too far into the sky, but doesn't matter. It's no big deal. There we have it that can maybe be able to light or something to hitting the roof. It more of that, more of this sort of brownish color because that just moving downwards. And it's also mixed up again with some yellow ocher, which is a very subdued yellow. It's great for this type of stuff. Coming down here. Maybe a bit more brown in the background like these, little bit more of that brown. I've got a bit of purply color as well. We can drop in, touch her that in there. Okay. Just to darken off some of those sections, going back to the brown again and dropping that in like that. Okay. Fantastic. It's all down this whole area like that. Bring that washed down the page. Okay. I'm putting a bit of darker color here on the van, just on the right-hand side of the van, the truck. Okay. I'm really trying my best to blend all the colors together, but still have a degree of separation. Like just the edges you blend a bit together. Okay. See that? How it's sort of blend, blended a little bit into the cerulean and the sky. Like that. There. I think that this is just a bit of burnt sienna, as I said, little bit of burnt sienna. I'll probably leave some of that white. There actually is a kind of highlight. Some yellow, yellowy parts on the top here, forgotten to get those in bit of yellow and a bit of white and get that off-white color like that. And this, again, more of the brown, burnt sienna here, burnt sienna and yellow ocher. Yellow ocher and burnt sienna. Great colors and lovely and warm. Okay. Let's put a bit of this darker color up the top here as well. A lot of these darker colors we're going to actually get in with another wash afterwards. Okay, So it's just sometimes you can just drop in a little bit of darkness up there and see what it does. Okay. But it's no biggie. And test stick. I'm just adding a bit more blue into the sky here to just mix it around the touch. And another thing you can do is pick up bit of purple or black or something like that. Just a bit of grayish color and you can drop it in the sky and create like a cloud or something like that. In some areas, you don't have to do it all over the place, but just in some spots like that can create a bit of an interesting cloud shape here and there. And just let it blend into the scene. And also because a lot of this stuff is from the buildings is kinda mixed into the sky and touch. I'm using this technique, mosque a bit of that as well. See, now it just looks a bit more, little bit more natural if we do it this way. Okay, good. Now, let's carry further on down the page. What have we got here? We have got kind of like a grayish color. I'm going to use neutral tint. Neutral tint and a bit of blue. Just cool down this shadow color on the ground a bit. I want to make it more cool than it actually appears in the reference. I'll cut around these people as well. Okay? And notice how I'm not fast about it, just blending down with the yellows in the background. It's no big deal. Cut around the cars for now. So that I can actually see what I'm painting later on. Okay. This does still need to be fairly, fairly light, but the ground actually is probably the second darkest. Hold the pigments here, I mean, apart from the shadows and the car's still second darkest tonal wise, especially when it dries off after I'm finished with this using about ten per cent paint and the rest of it just water, 90% water. But because it's quite a dark paint in a neutral tint or just a grayish color. That's what happens. You naturally just gonna get a darker tone even if you're mixing a little bit of water in there. You can also mix up your own grays. Don't feel like you have to use. You have to have to have your own bottle of neutral tint. So I actually use, use my primaries as well, can mix my three primaries together and create a nice, a nice sort of neutral bluish and add a bit of blue in there to make it a bit sort of tinge to blue. Or we can add in a bit of red as well. Neutral tint should be, as the name suggests, like more of a neutral color. So now either warm or cool. Okay. Good. I'm going to carry this wash all the way across as well. Like look, it's actually it's actually needing a bit more darkness over here and just carrying that color of the road down the page. Okay. Cause you've gotten that kind of track there. I'll just cut around and a little bit, but this is just a general color of the ground. And when I draw this off, this is going to look a lot better. It's going to look a lot more. Make a lot more sense. Okay. Is just the side of the car. I thought I would just blend a bit of their side of that car on while we're here. While we're here. Sometimes I just like to try to put in some of those little details. If I'm in that section already, you don't even hear this little tracked. It shouldn't really be that light in there. Okay, Good. So we are looking pretty good. Now. Sometimes what I like to do is while I'm here in some colors for the figures. So blue, maybe for this person just walking here are some cooler color just to contrast between what's going on. Maybe you could put it in a bit of brown for this one. You don't have to color them all in as well. You can just you can just drop in a bit of color on some and then just leave some others. Even white. Okay, but very, very dull bit of color there. That's all good. Now let's give this a quick dry. 20. Florence, Italy: Shadows: Alright, so time to get started on the second wash the, my opinion, the most fun part of the entire painting. And I like to just mix myself up a nice sort of shadow color and simplify it really, I've just got neutral tint and a little bit of blue. Also got a bit of this brownish color. This is a bit of brown ocher and I can mix that in with the blue as well to create just a little bit more of a grayish moneyness in there. Because sometimes I find if you use too much blue and you mix it in with the yellow is it just looks a bit too. I'm just looks a bit too bluish and you can create some green on the paper accidentally. So let's have a look. Where do we want to start off with our shadows? I mean, there's so many shadows and what we wanna do is create a large shadow shape, create it all in one go. I think I'll start off. Why not start off right here where we've got this large shadow that I've drawn onto the building k like that. And I made it a bit more obvious than the reference, something like this. Okay. And you've got a bit of the rooftop here. And underneath the roof like that. There. You can see this sort of shadow run well across. I'm using a small flat brush here, just makes it easy for me to cut around everything. That there is even some stuff underneath, but I wouldn't worry too much about that. There's actually some shadow here is where we can see just underneath the running across the building, there's a bit of grayish chateaux, which I'll incorporate. Rooftop is actually a little darker as well. It have darkness up the top there. The extra darkness we can actually, it's not urgent because we can actually do that afterwards. The main thing is just adding in these large shadow shape that just runs across the entire scene. Here. You can see it again. It just cuts across this building like that. Look, what else do we have on this truck? You know, you've got the same sort of dark shadow running on the right-hand side of it. Like here. We can just pick up that same paint, color meridian on the side like that. They're even here. You notice like the side of that truck is in darkness as well. A bit of a shadow here on this building and the right-hand side of it, there's a lot of shadow here. There. You've got a bit of shadow that just runs across. Look at that Just some of these some of these buildings that have these sort of shadows running across to the sides of them like that. Okay. We can exaggerate that a touch. Um, this one, I can try to exaggerate that a bit and exaggerate this one. Okay. Just imagine that light source coming in from the left somewhere. Just to sharpen that one out with touch. Good. Good. A bit more of that brown. I think we can just try to join this brown on a touch with this tower that, and maybe leave a bit of that left-hand side of it exposed. Like for the light, as you can see. Just a touch of these little detail for the rooftops and things. I thought I could just add in a bit of detail like that. Quick little bits. Here we've got a pretty large shadowy shape for this building. And I can, like I said, we just go through and get it all in one go. Even using a larger flat brush. Be better, just faster to do like this. Okay? Of course you will get these little interdental colors, not colors but bits of yellow showing through. You don't have to color them all in. You can leave them out still. Even that little car here, this little. Then we can just leave that for a bit. Okay. Good. We've got this car here in the front. So we're just really taking, taking our time to find that shape, that large shadow shape, and connect it all up to the rest of the scene. Okay, Taking a time, it doesn't look like much yet, but once we start putting in the really dark areas, lighter and little details, these buildings will really begin to come to life. Okay? Another thing I have noticed, as well as this side of the building is actually a little bit darker, tiny bit darker than the light here. So we can do that a bit later. I think if we do it now it's going to blend in too much. Wait a second. This building here in the back would do better if we were to just darken it a little bit, just to round the edges perhaps here. Okay. And we've also got this this rooftop of this building here as well. I can just indicate there. There's also this top here that just same there as well. Archway here that we had drawn in earlier. Just a little bit as something that darken it off. Okay. Good. Very subtle, very, very subtle details here. That's for sure. Okay. I'm just kinda touch and go really in some areas and getting indications of the details of this top part of the building. Okay. Just bring it down a touch. Here. There's all these little details on the building here. So you look at these little, I don't know what they are. These little parts of declarative bits on the building like that. Just look at that just a quick little thing. And I've indicated something That's actually part of the proper building here, just getting some shadow here. No shadow under the roof as well. Here we've got again, a larger shape. And this larger shape of this building to the right. Okay, So why should pick up the mop brush for that just to speed this up there. Look at that, just getting, keeping some of that yellow in there as well. This is fantastic because we can get in the shadows of what's happening. Okay, Let's have a look here. There's some detail, little bit of detail here. These pillars or whatever coming down like that. There is a doorway in here as well. Just get in the doorway there through that orangey yellow area. I mean, there's actually a lot of a lot of stuff here. But look at that, just simplifying it down. Okay? And trying not to use too many lines if possible. Even like a bit of a shadow here and that building that get that in shadow, like that. Good. That's good. Enough. Darkness running down here. Maybe running down here like that. Okay. Good. Okay. Across the ground we have got darkness as well. We need to join this up with the buildings here. Just maybe if I re wet if I re-wet some of these buildings here would help. Okay. Just to make it easier for me to bring some of this color down like that. He's you've also got a bit of light running through on the ground there. You can see it's a touch of that light as well. So I think I might get it just running across like that. Maybe like that. Joined it onto the right-hand side of the car. He is still okay. Underneath these cars, we've also got extra details and darkness. I'm just mixing up some more of this greyish coloured paint. Neutral tint, bit of blue, bit of brown. We'll their will, they're okay for that car. Darkness there perhaps as well. Here is a bit of darkness on the windscreen. Can just get that in side of that truck. Here as well. Now, just bringing out some little details here about being quiet sparing with this as well. You don't go overboard. Underneath the truck. It's actually pretty dark. You've got the wheels, but you can barely see them because of just how how much contrast you have underneath the truck, how much darkness you have under their area or something like that. Just helps you detail this dark little bits of dark paint like this really goes a long way. Over here. We're gonna get into some details for the car. And it's actually, the windscreen is actually pretty dark. But you can also leave in a touch of lighter area on the left side of the car like that. Windscreen. Just bring it down. And of course, I think the most important bit is just the wheels being able to anchor the wheels to the ground. The actual vehicle itself to the ground is important. Okay, Like that area. Very simple car. We can add some more details on afterwards. That could be like a light or something facing forwards. But it is anchored to the ground, is facing facing towards the front of the scene. Some more darkness underneath this car here as well. Look at that. Just you're really saving those final dark parts, right, for the, the end of the painting, when you're doing these little shadows and stuff, you don't want to be using all these dark colors too early. This is how you detail just using these dark colors. Here's another car in the background. I'll leave that. I'll leave the wind screen there. And another one as well behind this figure that I need to really do much. We've got the figures. Let's put in some legs and details for the figures. The one just walking here, bit of a shadow underneath as well. Okay. The light source is coming from the right side from the left and moving almost towards the right a little bit, right to the right and backwards at the scene. That's an interesting, interesting light source. Okay? So we have to be mindful of that. But as long as you've got a bit of a light source of running to the right-hand side, we're going to be fine. It's an interesting light source for sure. Then you're just getting into the legs of these figures with the same grayish color. Like that. Doesn't take much to indicate just some legs like this. Join them up. Just get the shadow in a bit better. More neutral tint. Lets put in these legs of this, is these figures here in the back as well. Look at them just sort of walking either towards or away. Some of them look like the kind of product groups or something as well. And again, that nice sort of shadow underneath them like that as well. The Forgotten do the stairs, That's just get the more of that color in for the stairs. It's kind of tricky to do it. You cutting in-between the figures, aren't you? This part here maybe. I kinda just also serve as like little directional, directional lines, I guess in the scene. I'll just go a bit lighter with some of these ones and more broken edged like that. Like this. You've actually got some details of bricks, can see them and just wouldn't hurt to add in a few of them like this. Why not? Why not just increase that detail with touch? Okay? You can get smaller and the back and less detailed. Because that just creates this sense of depth. Few little lines here and there doesn't look like much, but it does make a bit of a difference. Okay. Let's have a look. What else do we have? I didn't want to just blend this color on with the rest of the figure. Like the legs a bit more just shadow the right-hand side of the figure. And so it doesn't look too. If the legs blending the body a little bit rather than just a completely dark, I think that looks better. That's better. Just really added a bit of water and just some scrubbing to do this. Tiny bit. A tiny bit just scrubbing there. Okay. Good. Okay. Okay. Looking good. Really indicated this truck here, but there is a little truck or something they're hard to put it in, but something like this, we can just indicate as well. Sitting out in the distance. And of course we've got some figures, some people as well. There's a figure here, so let's just put one in there and one here as well. Darker legs and a bit of tiny bit of the shadow as well. You have to make these a little darker because they are already in a pretty dark sections. So I've used a lot more paint there. This wheel of this car here in the front as well. I'm just trying to get some more little bit more detail in flat car, It's tricky. Okay? Windscreen, bottom of the windscreen here. Just a bit. A dry brush drawing essentially with the brush to detail. Okay, Good. Just trying to do a bit of negative painting around the the truck like that to bring out the white of the side of the truck here better. I wonder if we can get in some little details like that. There we go. That looks a lot better. Three-dimensional. You'd be surprised what a few little lines, just a few little lines can do. Sometimes these trucks have these little antennas and things on them. Put that on, that might look a bit more, give it a bit more context. More black there for the windscreen and under the wind screen anyway, right-hand side of the car we use really for this. I mean, right now you can already tell that that's a car. So there's not a whole lot else that we need to do with these things. Certainly like the ones. Certainly. These two looking pretty good. I just want to cut around you again, more negative painting in the background to sort of cut around and create a bit of more of a highlight for the car. Okay. I don't want to keep going into it too much or as all or economic mess it up. Okay. Alright, let's start going into the buildings and same neutral tint. Neutral tint. And this are the rooftop really should be quite dark here. That's just almost pitch black. I can just bring that across like that. Like that. Okay. And blend some of these lighter colored gray onto it, like here. Just lighten lighten that up the touch. Windows. We go let's try that one. I'm going to use more dry brush. Yeah, it'd be all more dry brush would be better. Okay. That's a window. That's a window. I'm really just I don't want to spend too much time detailing in here one brush stroke or a couple of little brushstroke. Do the trick. Unless you touch the paper, the better. In my opinion, when you're doing stuff like this, door is kind of brownish. I'll just pick up a bit of brown, drag some of that brown through the bottom. That More here and here. Little indication and most of the light hitting the top of this doorway leave a touch a shadow there. You can do the same with some of these windows, like a little thing on the top like that just indicating a bit of shadow, something area, stuff running down the side of the building. I think this is like a lamp or something there as well. We'll go just scribble something on. They're not even, even got like a lamppost t start seeing things off for awhile in little details when you've been looking at the painting for a bit. And that could be a little light. That little lamppost then in the distance. Look what else we got. You got this window there, couple of windows, little windows there as well. And just some little bits for the building as well. Okay. Just darken the archway a little like that. More of this darkness here on the rooftops, they're just filling in a bit more of these details. It doesn't really require you didn't really require much. My opinion, just here and there. I'm going to bring out just a bit of the dark color here and just start going into the background and touch. And this is going to help bring out the side of this building a touch. Just some shadows and things off in the distance. All these rooftops, rooftops of buildings and things off, off in the background. Because it's directly next to this warm, yellowy section of the building. Notice that really sticks out and creates contrast. They're not really anything else for me to do. That building come to think of it. But there are e.g. there's some type of darker shape here. I don't know what it is. But you can put put that in there if you'd like. Okay, just to create a bit of interest, Let's have a look over. And she just go quickly, just go do this bit. Here where there should be a darkened doorway here. That a doorway, watercolors is all about layering and creating detail. It doesn't make sense right until the very end. And you have to persist and you have to go through and do it. Otherwise. If you don't go through all the steps and add in all the different layers of colors, it just doesn't look right. You feel like you're missing something and it's incomplete. Okay. He is a bit more this darkness for that window as well at the top there. So putting a bit of that here at the top as well. Okay. I'm holding my brush pretty pretty high up on the end of the brush as well. Keeps it loose. Okay. One thing I did say was that this inside of this building is just too broad, too light, so I'm going to just darken that down and touch this. It's a bit of leftover yellow than I had before, but it's going to be better. I think anyway, we do it this way. On this one. Yes. Continue that on here. Leave that to dry bit. That's all that's drawing. I'm going to pick up some more of this paint, neutral tint of blue. And let's go into, let's have a look. What else can we do? Maybe we could go into this. The side of the buildings here. Better, darkness like that. Underneath the roof tops of some of them. Sides, rooftops here. These buildings, you've got this little tower, I think some more little darker sections in there as well, just to imply some of the detail. Let's do this building human Lift. And it's actually a lot of darker sections in there that we can indicate. And I really want to make this quick. I don't want to over emphasize any of the stuff in this building because it is, is really just a side feature of my painting. Just needs to be put in. There. Is Windows, something like that. Okay. Good. Give this a quick dry. 21. Florence, Italy: Finishing: Okay, Let's go in and start with the, some of these darker bits. Dry off the brush a bit actually first bit of blue and a bit of neutral tint. And there we are just a few windows, shapes like using this flat brush because it just makes it so easy to put in Windows. The brushes already shaped like a window, rectangular like shapes. So as long as I'm careful with the way I'm holding it. Look out, look how easy that is. How easy that is. No effort at all. Okay. It look that way that light interacts with the windows as well. That doesn't follow the reference exactly, but got enough in there to go buy some kind of, you see these little antennas and things sticking out from the rooftops as well. Sometimes they help to connect the sky up from chimneys and things like that. So I'm just going to pop a few those in in areas. I mean, it's really not many of them in here at all. I have for once I actually have to make these up. There's something here. Whoops, too dark, doesn't matter. That some more windows. Another one. Again with that same old flat brush, the good old trusty flat brush. Some more windows side there. Okay. This building does have a bit more little bit of a shadow here. Just get that in that. Touch a red or something for the heads of these figures. Just gonna be the red mixed up. Okay. To place them. Maybe a bit of hair that's got a bit of dark color. Just a little bit of hair and stuff or some of these figures. Okay. Good. Okay. I'm really at the moment, I'm just looking for things that tidied up and add extra detail, but I'm really I'm thinking things look pretty good already. You can add things like a bag or this figure could be carrying a bag, especially the ones near to the front of the scene. Let's get in some final finishing touches, bit of white gouache to bring back some little highlights on the figures on it basically, to finish it off. Okay, I will just use the same flat brush actually for these highlights. I'm using pure white gouache with a touch of water in there just to activate it. Where should we start? Maybe on the car. Let's get in a bit of wash here, perhaps. Just draw that off a little. Headlights headlamps like that as well. And not necessary, but little bit of something in there can help. Tops of the car, the top of this car anyway, just extend it out a touch. Anywhere that you have lost some whites and you want to bring them back, even the truck e.g. it's got a little bit more of a white section up there. And even on the sides of it, there's where we can bring back bits, but you have to be quiet sparing with this. Don't don't overdo it. They're going to have a bit of dry brush of the white coming through that actually looks better. Little bit of this dry brush here look, just getting some little bits of like highlights on the side of the building and stuff with a light. Just hits on some of the windows and things like that. Just be quick edit here. And it's actually figure here. Shoulders I can just put in there with a head and the shoulders are, remember the top and the left-hand side of the figure. Because that's where the light is mainly focused on is another figure here. They're in the head and the back. Yeah. Okay. Another one here. Just helps to place the figures a bit better, make them stick out. Look at these windows here. I can just drop in doors and windows. I mean, just these little little bits of gouache. Dry brush it on a bit of water to activate it again. Sometimes you get a bit of a highlight there or the OH, here as well. We know what they are. These figures, statues on top of this top of this building, archway just kind of indicate what that is, even though it doesn't look like anything. Really. But you can still you can still indicates some of it. Just a bit more in a bit of gouache. You're just picking out some little highlights near is that you can bring back a touch, a spark or two. Okay. Some of these ones, It's just balanced it up a bit there. Okay. Maybe I can get another car in here at the back. On another car here maybe. Something like that. Base of that car. Base, really quite simple shape. This is kinda like a grayish color I've just mixed up with the gouache and use that in some areas I feel would benefit from not a complete black, but some kind of a grayish grayish detail in there. Okay. You even in the background with the sum this is truck here has that same kind of grayish color. It's so far back. You can't these little bits and pieces in there just connected up little opaque color, but I think it just gives it a bit more variety so that you don't have all these black just running through and can't tell what's actually happening back there. Okay. It's cars. Well, maybe we can use some of the figures. Bring it all the way through. Wash is really like it's a magic finishing touch and should only be treated as that. As a finishing touch. Don't rely on it. Use your main washes, your main watercolors to get in all the washes, the main tones and your scene. But gosh, can just be great little finisher, as you can see here. And I'll call that one done. 22. Warsaw, Poland: Drawing: Alrighty, So let's get started with the drawing. And the first thing I want to put in is just this area underneath the buildings. So we want to put it in a line essentially. And if we estimate where that line is, this imaginary line where the buildings touched the ground, It's about a quarter of the way through the page. Okay. So quarter-wave from the bottom. So I'm putting my finger here around the middle side of the scene. And I'm just putting in a little line, just an indication of that bottom part of the buildings. It's not perfect, but it'll get the job done so that we know where the bottom of those buildings are. Now in the center of the buildings, we've got this kind of tree right in the center of the page. And we've of course got this larger building that runs all the way up and it finishes, let's say, just above the halfway point. Look at really the bottom of the roof about the halfway point of the scene. So I would roughly placed that you're just a roundabout here. That the roof of course, goes a little bit further up, but I'm just putting in the actual bottom part of the roof here. Now, this is the rooftop. And there is actually a part of the clock tower that goes all the way up. And you can see it here. The side of that building like that. They're coming down like this and just cut soya, this roof top part here. Okay. We've got another part of a building here. Okay. It's kind of like a box shape. They're cube shaped. So that comes around here, just joins onto the rooftop. Nothing special like that. Just a little box. And that's shaped kind of just repeats as we go up a little bit like this. It's not perfect, but something like that. As we go up, it becomes more sort of circular, dome-like shape here. Doesn't matter all that much. The accuracy, 100% of the accuracy. We just want to make sure we're simplifying everything down into shapes. That's what I do with a lot of buildings and structures like this because it's the easiest way to draw things. Just look at the shapes. Okay, so that's part of it. And you've got part of the roof kind of going behind there as well. Just disappears. Ducks off is where it's gone, somewhere like that. There's parts of the building here as well, just these darker parts. It start working a bit on this. Here. We're going to go up another bit as well like this. Just repeat this structure once more, okay? Like that. Alright? And just give another layer, something like that as well. There are some parts of it kind of just stick out a touch like that. Here. We have got now this top part gets a little bit complicated, but it's really just the same sort of almost like an onion-like shape running across the top like that. I'm going to just try to figure this one out, something like that. Okay. Simplify that down a touch. Okay, base there. And let's just put in a little bit more detail with these little details on the buildings at times, I try my best to, especially when the shapes are a little bit closer to the front of the scene. I tried to add in a bit more detail, helps to create depth in the scene and also give it a better sense of place, especially because we're dealing a particular location. Accuracy can help here. Okay, There's some details on the side of the buildings there. There's a clock a clock tower sort of thing here. Not a huge deal. I'll just mark in some areas, but apart from that, I think we can more or less leave that. Oh, look at this. This is actually a little part of the side there as well of another structure here, bit of a domed structure all the way out in the back and simplify that down as well like this. I'm not going to really bother with all the little too much of the details. There we go. The bottom of that roof here. Bottom of that roof coming all the way across there and just side of the building there runs down. And of course to the right-hand side like this. And what else do we have on here? Well, we have actually got a part of the building and chats yeah. To touch here. She comes down. Okay. It's just part of that cocktail structure runs down the page like that. And there's actually a bit more of it sticks out like that. Just I'm just trying to pick out some details that we can add on. There's actually three floors, 123, and I'm simplifying this down, guys as well, just simplifying it down to three. There is some kind of a doorway here, the base as well. Little doorway. Maybe something here as well. Okay. Here. A lot of these little bits in pieces here on the rooftop here you've even got some of these little areas that kind of join onto the roof. It's interesting. I just create a bit of this interest on the rooftops. Okay? Okay. Be tricky to draw these on, but they will help. I think in terms of getting in some shadows, a little bit of shadow for those, for these later on. So just sort of draw the top is kind of triangles, then the base like this. Then we just draw the bit that's joined onto the roof here and yeah, like that. Maybe go. Then we've got some shadow that we can just get in there on the right-hand side. Afterwards. K is a bit of a chimney or something up there. And there's some shadow there for that building, but we don't have to do that just yet. I think we can just detail this little bit more of that clock tower. Okay? Some of these might change later. You can see also on the sides of the buildings you've got these like little windows that so many of them really, and especially in the back, they become a lot smaller. Tricky to see, but as you come closer, you've got they become larger. So this is just a simplification of what I see here on the right-hand side, you've got more windows, but they do appear a little bit more detailed and have more stuff going on. So I've just decided to draw in a little bit more like that. Okay. So buildings on the right, pretty much done. Let's go into this side where we've got the another building. And this one is the one directly behind the tree, slightly darker tree right here. And that's the side of that building. And then we've got the other side, they're coming down. And not to forget also at the base of these buildings, you do have bits of the shades and things. The buildings below you've got like these triangular shaped bits and pieces which I actually just shades of the restaurants put up. Okay, so that's the side of that building and the rooftop putting that in, it's just a triangular rooftop like this. And this so much on there really, but I will simplify this one down. I think just for the sake of not overly complicating things, but you've got Windows there. But if you look on the roof, this so much detail that you could really, you can really spend an eternity drawing in. But I don't want to do that. It's going to take too much time. And we wanted to just put in some of these buildings here in the background. I want us to be exactly as per the reference, but I want to separate them out quickly like this wrist. Simplify these down to touch the just rectangular shapes. If you think about it. Little rectangular shapes like that. This is the rooftop is another rooftop of one here. Yeah. Okay. That kind of overlaps with this one here on the right. Simplifying it down. Here on top is some kind of shape like that. And another part of the building and bits and pieces sticking out. There's so many things going on in here. The whole point of this is so that I can get in a bit of shadow there. And even this side of the building, as we can see, there's actually another building here. So can be quite complicated really, but that could be the side of that building there. And then we can have a bit of darkness there. Here's another building and this one looks like it's been it's under construction or renovation of some sort. Here's some more of these other ones. Here. There's one colorful buildings with these rooftops on there. I'll just get in the bottom of them. Okay. Here's another one, just another one like that. And then we've got this larger yellow one of its kinda cut off a bit in this photo, but we can simplify that down. Okay. That bit of the rooftop like that bit of the dome-like shape there in the distance. And small shapes that I can just work my way through and indicate in terms of some of these houses and things off in the distance. This is another larger rooftop here, like that. That just a quite large roofs, something. I'm just looking at them as shapes. So what I'm doing is looking at them as shapes. And this one here also economy got a roof there and part of a part or some light that we can indicate in there as well. Okay. Some windows that we can just quickly scratching the pencil. Lot of this will just be a silhouette with some light being because showing through as well. Okay. There is actually a larger building here in the background. You can see it pop out the backlog that some of the, some tower or something there. This is also going to help with a bit of a shadow. Create a bit of darkness there in the background. These buildings do look a little bit messy. But at the end of the day, I just want to get in a bit of a silhouette of them and perhaps leave out some of the left-hand sides of the building. Okay. But let's see, what else do we have? Well, we've got this big tower, of course, coming in front. So it was not Tao, It's this big statue. Here is the bottom of the statue, like here the steps, their base of it is just like a rectangular sort of three cubic shape like that, like this. And then it comes up rectangle. It's actually a little bit further up. The rectangle comes up like this rectangular shape. That, and then you've got the bit that just goes up into the sky. This, okay? And it comes out into this sort of shape like this. Okay? That, and then you've got a statue ride on top. Or I can symbol, just signify that. Something. Simplify it like that. The actual part of the statue going down into the base just darken that offer touch. But this stuff we can actually get in later with more detail. But just want to simplify it. Okay? Base like that. Okay, looking good. Now what else do we have? Of course, we've got small these umbrellas and things off here in the background. A lot, a lot of stuff going on back there. But, you know, what I think is important is to sort of figure out this light source. And there doesn't look like there is many, much light really at all in the scene. But I'm going to create some. This area will just be more darkness here. But I want to get in a slither of light running like this through the scene. Okay. Just in the center, a bit of a slither of light in the center of the scene. This will also help me get a bit of a shadowing for that statue. Also a bit of a perspective as well. Better looking perspective. Also you've got the figures, so many figures in here, not to mention some of these lampposts. Look, you can just get into lampposts link one here, something like that. Just a lamppost connecting up, they're going down. All this stuff is just indicative because we'll get it in with the watercolors afterwards by placing it in there. As important, I am considering whether I should put one running through the scene. Running through the scene as well. I might do that later. Just having a look to see. It might be good to balance it out. Um, yeah, let me, let me, let me just do that. We'll put one here kind of like larger one through the front of the scene and maybe get it coming up actually a little bit higher. Just mimic the ones that I can see in the reference. Okay. Okay, like that. And get it just coming down and looking a bit. I'm kinda coming out of the scene. Okay. Like this. When it up a touch like this. Okay. My end it maybe we ended about here. I think I've gone down a bit too far, something like that here. We're going to get us some shadows there over to the right-hand side as well. Now, some figures, Let's make this come to life. I'm going to put the heads of the figures roughly around the horizon line. There's quite a lot of tall figure here in the front. He's a taller than all the other figures, but generally speaking, they're all roughly be around the same area of the horizon line. Here is the front leg. Oops, this is, this will actually be the front lake and coming up like this, walking into the scene like that. And we'll have the other figure just around the other figure like this and walking next to him, their leg like that simplified, simplified, really like that. I'm just having a look at the front of that figure. That should look that should be okay. Like that. There's another figure maybe here. Okay. Just kind of walking into the scene at the back. Just simplify some of these down. I don't want to spend too much time sort of penciling all these figures in. Here's one I thought I'll get them walking into the scene. There's some more here. There's a lady just walking here. A lot of these figures, we can add the details and the bits and pieces in afterwards. Someone walking towards the front is another figure here. And these ones are gonna be good because it'll cost a bit of a shadow through the light, light section that I've drawn in. It's also, what I like to do is just turn the, turn them to different angles, put their heads on one side like that. So it looks like they're walking in a particular direction and off having a bit of a walk, the ones in the background, you want to make them smaller as well, a lot smaller than the ones in the foreground. It's going to help to push those figures back a touch. This one's a little tall. Let me just I'll just make him a little bit shorter. Here. Look, I mean, so many figures, so many people, lots of things going on here. This stuff is great for actually putting in, in the watercolors. Afterwards. I'll just sort of putting the heads and the bodies and try to get in this sort of busy-ness going around in the background. The heads and the bodies in just sort of blending at many points, just sort of blending together. And throughout that you might have one that's a bit more detailed like this one here. Walking into the scene. Maybe another. Should we have a larger one here? Perhaps. Just let me know if I can put in another larger one here. Okay. There. Yeah. Just walking into the scene there. Some larger figures, like he is just standing around in the foreground, midground here. Okay. This is the area of light, this sort of section there that I've cut out through the middle bit. Okay. Every bit of light, just a sliver of light running through the figure, walking towards the right. And maybe another one behind you. Standing. Overlapping shapes. Figures. Okay. Good, good. Another one here, maybe just around the center. Smack bang in the middle of the scene and just touch of extra detail like that. Another one here. As you put in, figure, after figure, you begin to ascertain what might look good if you put one here, there's a bit missing here or something. So I think this is looking pretty good and we can get started now on the painting. 23. Warsaw, Poland: Light: Okay, So with the first wash, I know my aim is really just to get in some basic colors and really light colors. All this just basically just mixed in predominantly water, 80 to 90% water and only 20 per cent paint. And I'm going to go in with the buildings first. I've got a bit of quinacridone, red, yellow. And you can use any kind of yellow, but quinacridone yellow and I'll mix that with some of this yellow ocher to get myself a kinda dull down quinacridone and yellow. It's a golden yellow that I think will look nice, especially on this building. And look at animals really just putting in a touch of water there and just allowing it to seep into this roof and the building. In a lot of this stuff here. You'd be surprised. Just blend in with the sky in a moment, but Just want to make sure that we've got enough of this golden color. I love this golden color. And try not to make, to make sure that not too much of it goes into the sky. Some of it's going to blend into the sky. But I want to still create enough contrast for later and the blue for the sky as well. So look at that just a bit of Kronecker Daniella just mix that down with some yellow ocher to dull it a bit. And this will create just some extra light and I'll gonna do that for all. So the tops of these buildings here. So I can get in a touch of a touch of this warmth running through the top of those buildings. Light. Really just a tiny bit of yellow on there. Not much at all. Okay. Lot of it is really just water that I'm using. And as we move into the buildings and bottom parts of the buildings, they're all different colors, but really at the end of the day, they're all pretty dull when we put it into one large wash. So I'm just actually picking up a bit of this white. It's a bit of buff titanium. Putting that in at the base. We also have some of this brown here. It's a bit of burnt sienna touch of that burnt sienna here as well. Bit of orange, even just warm colors you want to get in for this part of the wash and look at how I'm cutting around these little umbrellas as well. And being pretty quick at it. Cutting around and just bringing that down the page like that. This side of the building. I just want to also getting this off white color. Okay. Maybe I'll put in a bit here for the lamp as well. Tiny bit like that for the sky. I want to make it blend in too. But let me just quickly getting this little bit of warmth for the statue was sky. We will grab a bit of blue. But I'm just trying to get rid of that color on my brush versus tricky bit of ultra, little bit of cerulean blue. And picking up some cerulean blue, drop that into the sky like that. Maybe a touch of the ultramarine blue at the top as well. We'll touch on that ultramarine at the top. More cerulean, more cerulean blue. And the mop brush really helps with this. Because I just need to really tap it onto the page and you're done. You've got so much water on that brush that's able to pick up. And this is what I mean when I say some of this stuff will actually mixing to the sky. Can you notice here just a tiny bit of this color, a bit of that yellow starting to go into the sky a little bit. Okay, it doesn't matter. As long as it looks smooth, you'll be fine. Okay. I'm just cutting around this one. Also maybe putting more water down the base as well. So just shift up some of that water. Shifted some of it up like that. Okay. The aim here is just to get in a nice wash of color. Blends. More blue here, here I'm just kinda around that one, doesn't matter. Okay. We've done that is pretty much it. For the sky wash all this stuff's going to mix in and probably do something. But for the most part, look, it's just see the separation between the sky and the buildings. For the base, I'm going to mix myself up this gray, and I've just got leftover color here on the palette. It's from one of my last painting. It's just gray. Gray color. Alright. But before I forget, always forgotten. But there is actually, like I mentioned before, bit of light here on the ground that I wanted to portray. So I'm gonna pick up with this yellowy yellow we paint. I'm accidentally dropped some into the sky here. Doesn't matter. This yellowy paint, It's just a bit of quinacridone yellow. I'm going to drop that in here. Okay. They're coming across like that. Just a bit of light on the ground. And what I'll do is just above it, I will get in some extra darkness. She swapped to a smaller brush to do this. Look here you just a bit of this gray that I found. And I'll go in and just do this sort of thing here. Just combined the grays and I've got on the palette already just combine up the top bits and pieces. We've actually got a lot going on back there, but it's really figures in things. We will have to bring them out a bit later. I've gone over some of them already. But notice how that wash is still wet and so that the wetness is creating this nice blended effect into the light here on the ground and in the buildings as well. So it all looks a bit more more cohesive. Let's just let's just do this. That's getting a bit more blue. I want some more blue in here. And a straight line. Okay, Here we go. That can just be a bit of a shadow here in the background. And get some of it here in the foreground as well. So just over here, look at that. I'm going to do this more tiny bit more blue. I think that that when you've got yourself a nice, beautiful slither of light running through there. And down further as well. Just cut around that figure a little bit. But you've got so many colors in here. But if you think about it, it's really just gray. In the day. It's just a bit of turns into gray. Putting a touch of blue in there to keep things more interesting. Okay, I've got little bits of white speckles and things like this, I don't mind as well, can just leave that there. Also, what I like to do is to play around with a bit of water or some flicking effects. Or I'll pick up a bit of time bit of water and just tap it onto the page like this. Okay, and this will just create some tiny little variations here in the shadows. Okay? I think it just makes it look a bit more interesting. Some of that paint in there. Okay. Good. Alright. The sky hasn't completely dried yet and I'm thinking I'm actually going to re-wet it slightly, just give it a quick little spray like that. And I will actually drop in some cloud-like shapes. I'm just going to pick up into this grayish color, a bit of the blue and purple, maybe I've got some purple leftover from top here. I can just put in a few little clouds running through the sky at something I thought I wanted to do the last minute. You don't have to do this by the way. While the paint is still wet. It's a good time too. If you want to add in any kind of cloud effects of some sort, it's a good time to do it. So that's what I'm trying to achieve here. Just some softer ones that may blend in the sky, create a bit more interest and give it a bit of moodiness as well. Oh, that top bit is kinda dried but doesn't matter. You can have some sharp and looking cloud up the top there, I guess. Some smaller let me get a smaller one here, perhaps down to the base. There just clouds at the base are always going to be a little bit smaller. As you move up, you're gonna get larger ones and put a bit of shadow underneath the base of some of those clouds as well. Make it look a bit more moody. Like that. I think that looks decent. Roi. So let's give this a color for the figures. I think we'd be nice. I'm just going to put in a bit of cool a color or something in some of them and change it around the sun. That not, not all of them, but just a few of them, maybe a little bit of blue or something. I mean, areas. Okay. Okay. Good. Right. Maybe a yellow. Yellow on it. But yes, something like that. Let's give this a little dry. 24. Warsaw, Poland: Shadows: All right, time for the fun part. Now, we are going to get in some nice shadow is over this entire scene. And really wanna, I wanna do is make sure that I've got a big shadow shape just running across. And joining onto this building as well with is actually some, maybe some softer shadows here on the side of this building which are thinking of just spraying down part of the building to get it in as well. But this whole shadow I want to do at the same time and create a sense of darkness as well. On the right-hand side of the buildings and sort of leave out parts of the rooftops as well. So let's go, Let's give this a good crack and I'm going to pick up two brushes. I've got this small flat brush here, and I've also got this watercolor mop brush. The mop brushes pretty small. I'm gonna be picking up a bit of darker paint. I've really got myself some neutral tint, bit of brown. You really just a grayish color and also a bit of blue in here and just want to make this shadow color a little bit cooler. There's welfare and neutral tint is nice. It's just gotten a mixture of all the colors in it as well. And the brown just helps to make it more grayish. And so it doesn't require much really to get into this shadow shape, but I want to mix in, just wanted to mix in enough of it so that I don't have to go back for it again. Okay. And just continually have to mix more in afterwards. I've even got a bit of purple in there as well. But you see here as we move towards the right, it becomes a little bit more grayish and warmer. And then on the left we've got more of like a cooler looking gray. So this is gonna be a good mix, about 50% water, 50% paint. Let's get started. I'm going to go in and just test that out and that building, is it too dark? Maybe? I think that should be okay. I want to make it more, sort of a little bit more of a contrast. And I'm going to put in, here we go Just a bit of shadow on the right-hand side of this building here. Like that. Of course, we also have this statue here in the background, and I want to be careful not to obscure it completely so that I have a guide as to where to put it in afterwards. Here I'm seeing I'm just going down further where the figures are and just cutting around the heads of the figures down the base Cl I'm just going a bit darker at the base, tiny bit darker there. And I'm leaving a bit of that rooftop to the left as well. And more of this stuff that's part of the rooftop as well. I'm just giving this one out. Maybe a bit here. Here. Ok. There are a lot of these buildings just have a touch of light on them and maybe just get to the top of that building in like that there. And as we move down, look at that, just darken the base, more of this gray. You only really just gotta do this once. Don't want to continually go in there again and again. Just look at that. Just cut around the figures. And what you've got there. He's the head of that figure. And not only that, you do have some of these buildings at the base that have details. And but like I said, I just want to simplify this all. And I'm here, e.g. I'm just making this up, but a bit of light perhaps on that left-hand side of the building here. This part here. Bring that down here like that. Keep a kind of one large shadow shape. It becomes much more manageable. Okay, and joining it up, joining that shadow shape up to everything else as well. Okay, let's have a look at this one. We've got some shadow here, some light here on the left side of the building. But then at the bottom here we've got some little bit of light here. Because I'm just leaving slithers of lights and things running through just indicating you have light catching on there. I'm trying to make it more interesting than it actually a P is because in the reference photo There's so much detail. But when we actually go through and as you can see here, just adding in additional details, it's very easy to just lose it all and suddenly not have anything left. So I purposely just leave out bits of light catching in areas, e.g. even here for we've got this building. And there's really no shadow. There's no lights on the left side of it, but I thinking I might just leave a bit of it coming through like that. Just bring that down the right-hand side of that building. I'm going to darken like this. But the left-hand side, I think I'll just leave it. Make it look like there's some light coming through catching on that left side of the building there. Okay. And as we move down the page as well, look at that. I'm just adding some more little bit more paint, little bit more darkness here. We cut around. What's there. Okay, good. Alright, so we have now got to deal with this building. And there's also like a tree or something. You just want to put in a touch of that, make it a bit more messy in there. But this section of the building, I'm going to get in, but I'm also going to add in maybe a touch of yellow as well until this, this gray. And just work on this shadow. Okay, we've got it kinda coming across like this. And part of that building running across down the odd of this building. It even goes into the roof. You can see just touches of this shadow coming over the right-hand side of the building. I thought I would just this towel. Sorry, I thought I'll just exaggerate that a touch touch of that shadow there. But then it kinda just joins onto the roof as well as you can see some sharp a shadow that just comes up into the rooftop. Like this. It's basically the shadow of some building off in the distance, creating a bit of that sharp, sharp and stop there. We'll spray the base here of the buildings, attach chiral, hopefully try to get this to blend and blend in a bit. And good. Me just quickly. That bid up a touch. A bit overboard there. And we will continue on with this shadow, this large shadow shape. You can see it just running across this building. In fact, I will spray, give this building a bit of a spray down like this. And the aim of this is just to soften this shadow a touch so that we've got a shadow on the building, but it doesn't look too overdone. Okay? This might even just exaggerate this shadow a lot. Here running towards the right of the building. We can even see here is a bit of that shadow from that top of the other Tau apart there. Okay. I think that looks good. That's going to draw nicely. Okay. Deb off a bit of paint here, started to run into areas, but it doesn't matter. Bits of shadow as well. I'm going to put in for some parts of the building like e.g. here. Just a little bit of shadow. Like this. Yeah. Okay. I mean, it really this whole part of the building is going to be in shadow. This right-hand side like this of it. Okay. This top part as well. That this part is kinda rooftop structure there as well. A little bit of shadow on the right-hand side underneath the roof top. Sometimes you do get a bit of this little darkness in there as well. That you also this right-hand side of this other structure here as well. That as you can see, just touches of color. And the right-hand side of the building. We just indicating some details. We're doing. Alright. So that is looking good in terms of some overall shadows and it's in pieces. I will draw this off. 25. Warsaw, Poland: Finishing: Alright, final step. We are going to put in all the remaining details, the figures. We're going to put in, the little details on the buildings and the lamppost, all that right here. So let's firstly pick out a couple of brushes that we can use for detailing. I do have some smaller round brushes like these two, but I've also, I think I'll just use a small round brush and a small flat brush, synthetic ones like that. This is a, I think this is a number one or number two round brush, really small ones. We can just get some details in. And Firstly, I, what I want to just work on is some of the details for the buildings. So I've just got myself a bit of neutral tint. Any dark color would do, dry off that brush. And I want to just go in and just figure out and pick out a few details and work on this. This is kind of can almost be the most time-consuming part of painting a scene because your chest, you're really just finding details in here that you want to bring out in the final piece. And K and touching goal as well. It's not like you're sitting there constantly just trying to draw everything in but see this little bits of that building, little darker parts. It's almost just redrawing in some of those pencil lines. The best way that I can explain it. But, but we don't wanna do it. We don't want to overdo it. Okay, so there's a point in which it becomes just looks a bit too overworked. So all I do is just pick up a little bit of this darker paint. And that's what I'm doing. I'm just going through here, look at that on the actual building as well. Some sporadic marks for the Windows. And we do need some windows. There's some little details of what's happening back there. And then you can see down here as well, I found, I find this flat brushes really good for this. Because the flat brush just mimics that look of the window. Because it has that sort of move rectangular shape, almost a rigid sort of mark that's left on the paper. Okay? And notice how it just at some points I just let us skip over the paper as well. Let that, let it just skip over. Don't try drawing everything into perfectly because it won't go with the rest of the painting, the style of the rest of the painting. Here's the doorway or whatever, something where you've got a bit here as well. If I can do it with just a few little brushstrokes, I'm happy. Loop is something here as well on that side. And you can even just, like I said before, just restate and re-emphasize little parts. It's really just touch and go. As you can see, touch and go. Some darkness inside these sections like that. I can reinstate parts of that. And there as we move into the back, you'll see some of these windows just become really, really small. And so I can just hold the brush, It's almost like a pencil. Hold it like a pencil. And that allows you to get a little more control when you're doing these finer shapes and windows. They're not even lined up 100 per cent, but you get the point. Doesn't need to be. Let's just draw a line or something down here as well. Join up and you know, you're just putting in some small details and line work. Okay. To just indicate extra details. There might not even be those details in there, but does help. Okay. What else do we have? Those buildings look pretty good. Maybe just a touch for this one here, the distance. Then we've got some type of tree here going to pick up a bit of this greenish color as well. To just feather out some of this color. Just a rough with a green or something in there for that tree. Okay. Feather it off. Nicely. Small buildings. Some more of these little windows that we can put on an indicate. I think at this point, you are just I'm just picking up bits and pieces in the buildings and they don't even really look 100 per cent like the buildings and the reference. But I wanted to indicate this extra darkness and push those buildings back a bit as well so they're not too obvious. I wanted more of the focus on this building here on the right. Okay. That just touch of darkness as well. They're more more grayish color, mix a bit more up. You add this point using mostly just paint will be 80 per cent pay 20% water in this mix. I think that just more little windows that you indicating K little windows even get a bit of work, but just stuff going on on top of the buildings as well. Over here you can see there's actually a bit of darkness. This building is a bit darker in the background as well. So I'm just going to create a bit of extra contrast. And that going on or contrast for this building as well like that. Good. And also some windows on the edge of this building could be two things on the rooftops. Some more chimneys and stuff here on the left-hand side. And of course, this little dome I thought I'd just want to just quickly emphasize something that it more they're looking good. We're getting there certainly some more windows on the sides of that building would be nice. Bit of extra darkness in this running through the center. Change it up a touch. Those buildings in the background, I'm looking decent. Stop working on them for a bit and I'm going to start working on, Let's go with this one first, this little nap post neutral tint. And I'm just using some black and neutral tangent, really dark colors. And k, It's pudding and just drawing in this lamp. Yeah, there's a lot of detail going on. I'm really just using the smaller one as a reference, but it's tricky to see what's going on. But yeah, it kind of goes over the top iPad, doesn't it? Maybe, and just comes down the page. The page or even crush. I'm doing this. Stop roughly about here maybe. Okay. Hopefully about here. Good. We got this one now, again, I will I'm thinking I'll just exaggerate this as well and put in more darkness on the right-hand side, are seeking that work. Maybe it could potentially work. Base though I need to get into a yellow there. I've not forgotten to get that bit of warmth at the base. I'll just redo that. Okay. This is just going to indicate a touch of light maybe hitting the left-hand side of the of the statue there. Okay. The rest of it's just pretty dark and will go up as well. It has to be darker than the buildings for it to show through. So start out the top and just bring it down just one brush stroke like that. The rest of it I'm just going to indicate in with the brush work like this, they're kinda figure statue here. Let's get into some of these figures. Legs. We've got that smaller flat brush, round brush. Pick up a darker paint again. Some darker paint. Gotten palette. There we go. I can actually draw that brush off first, make sure it's pretty dark, but then draw that brush off. I think sometimes it just looks better. Well, the legs a bit dry brush done that. You can have some that look a bit more like this. And the main thing is just keeping the legs looking a bit different for all the figures. So we don't have all the same stance, I guess, because people were walking in different ways. Okay. Another thing to keep in mind is that we do need to get some shadows in for the, for these figures. So I'm picking up more of that paint and just exaggerating the shadows so they run towards that right-hand side as you can see here. Same thing for this lamppost. I thought why not just getting something like that? These exaggerated shadows running through the light. It's just something I wanted to do to change up the scene a bit. There's some of the shadows with these figures here in the foreground. That basic shadows and figures here in the back. And you can see them just kind of walking around in their own way like that. I'm even just put in some some of the darker silhouettes of them in the back as well like this. It's a bit much reader that he would go another one here. This is actually a lamp post here just to indicates something like that here. A thicker, more figures walking. The same structure. Now the figure here, there's so many off in the distance and it's just a matter of placing the legs and making it look like they are walking in the distance somewhere. Okay. Of course, I'm just simplifying this. You can take as long as you need to. Some other figures here, these larger ones near the front, especially I put one in really close to the front here as well. And same thing. Good. Doesn't take much to just indicate a person walking around in the background. We didn't take much at all. Some kind of like steps or something here, just thought I would indicate. Some of these exaggerate them attach as well running through the back-end there. Leading up to that monument. Suppose few little perspective lines, but I'm nice, I'm not so necessary. We can figure out really what's happening. Little indications on the ground. It just helps to place everything, make everything looks. Give it more depth. Darker figure here. Okay. Put in some gouache and a bit of yellow for this lamp to just make it pop a bit more. Something like that. Here's just a little lamp, same paint. There. Um, Gua Sha is great because it allows me to actually bring out some details for the figures. And I use gouache quite often actually as a finishing touch and mixing in a bit of white gouache with a bit of yellow. What this is achieving is basically it's creating a really light yellow that I can then go back as you can see and bring back some highlights on the left side of the figures. Especially some of these here. I want to preserve this. I want to keep to that color scheme, that warm color scheme. Of course, you can also use some white to bring back the really bright highlights. Let's just go with the yellow to start off with a little bit here. And these two figures as well, you look, you do it in bits and pieces. You don't go overboard, just areas here and there. Just a bit on that lamppost as well. Why not? Lakes of this figure? I'm just putting a bit there. When here in this figure as well. Especially these ones in the darkness, you'll find that a little bit of gouache goes a long way to bring out some detail. Signify signal where they are. Let's put in a bit here. Here. Try to smudge it into the body a bit so that it looks a bit more natural like that. Not only that you can also do, add in a little bit for the buildings, see a tiny bit of wash there. I've also got some white boss straight from the tube that we can also just use. On top of that other gouache. Do find a little bit of hair does help. Milkweed of darkness underneath the light from the head as well. So you can see I'm just picking up a little bit of darker paint, little bit of brown or something like that. We can just smudge on a touch there. Even the faces you can put on a bit of pink, yellow, bit of red, and a bit of white as well for the faces, times mix up whatever skin tone you'd like. You can even just put on some other types of colors, bits of darker browns and things as well. Browns and blues for darker skin tones. But it does help just to, I don't know, it just brings out the figure is a little bit so that they appear to be people walking around. As you can see? Not much, but there is yeah, I think it helps. Even the head, the arms and staff of the ones that are closer, you can just bring them out and indicate. I'm much more as well. Okay. Some final touches of white gouache, pure white gouache. Brush that off a little. On the buildings. I do think that helps a little. It'll be its pieces where you might get a light bouncing off the edge of the window or the edge of the building or something like that. Tiny little bit like that does help. We've also forgotten some of these umbrellas and things off in the distance. Haven't we? Mix a bit of yellow in there? And let's see if we can bring some of that back. That back umbrella, triangular. It's really important not to overdo it as well. Yeah, Because can get too busy and out of hand if we're not careful. Blue, blue gouache. Blue, white. Here are some of the parts of these buildings as well. Near the windows and stuff. Just want to soften this off attach. Make it a bit like a smoky look going into the buildings in some areas. That softened approach in some parts. Little Lamb here, I forgot to get that one in just a quick indication of it like that. And maybe also thought maybe some putting some little birds or something just, just flying around in the sky. Some real quick indications of some birds. Too many, but a few here and there. And we're finished. 26. Venice, Italy: Drawing: Alright, we're gonna get started and let's get into the area where the buildings touch the ground. It's just below the center point of the scene, some estimating it roughly to be ran here. So I'm just going to draw a rough line. Indicate this. Just slightly below the mid section of the paper. Middle point. Okay, something like that. And what I wanna do is just getting a line just running across the scene to the front, just indicating where the path is. Just like that drawing in. There's also a whole bunch of these boats, which I'll get into in just a moment. But I think this is important for me to get into just this general perspective, I guess, of the just up the two paths on the left and right of the scene. It's interesting you have to get the angle more or less correct. Just observe the reference photo and make sure those lines are running, running in the right angles. And that's a path as well here. Kinda gets smaller at the back and disappears. Smear just a little bit smaller here at the front, like that. Larger amine, then you've got the path at the back like that. And of course here you've got the wall like that. Right? Okay. There's a little bridge here as well. Getting that curvature, the bridge coming up like this. That center part there. I'm gonna yeah, I've made this bridge a little bit larger than it actually is as well. Just as a personal choice. Want to emphasize it a bit more. There you go. There's that bridge right in the back. There's you can see, I think I'm actually going to work on these boats a little bit while we're here, just will get in this boat here just like almost like a triangular shaped like that. And then you've got the bottom part of it here. Just connecting up there. We have it. We've got a boat boat like shape. There's some covers or something on the back, but on the back-end there's another boat k just tucked in behind. Like that as you can see, just tucked in behind. Okay. Another one like that, just to shape that you want to get in there really not much detail at all. Some more boats here in the back. Look how they just adjust shapes I'm drawing that will overlap with each other. Okay. This one here has got a bit that sticks out there. Okay. There we go. There's another boat. We've got two more to go. So one larger one that's sort of comes out roughly here. Okay. Again, and just a bit of detailing for this side of it, like that. It's just basically drawing shapes. There's also another one here in the back that's so close to the front that you can only see part of it, but something like that will do the trick. Okay, closer by some of these little wooden pylons and things just sticking out of the water. Okay. That so we'll look at this wall I thinking with I need to restate some of it will just redraw it, make it a touch more accurate. Just want a little bit more attention to that. Good. It gets smaller as you go into the back, as you can see there. Okay. Excellent. And what else do we have here? We've got an umbrella like this umbrella this figured out roughly where that umbrella goes. No, it's above the breach. Definitely above the bridge. Just want to emphasize the bridge, a touch like that. But we've got it here, sort of ran here, this side of the bridge and it just goes up into a point. I also thinking whether I want to emphasize this a bit more so something like this. The K, like that triangular shape. And then at the bottom you've got these interesting in silica that these little bits throughs of the umbrella like that, which I quite like actually it looks really nice. So have a play around with that later. Tiny bit of drawing and this stem of the umbrella here. There's even these little shades that you see of the buildings here in the back. In case a little emphasis of that. They just pretty much just line up k as you can see, the shops off in the distance there, you can even see like a shop front there, there's a bit of the wall. It's all pretty dark and here, for most part, darkness under here as well. There's even a figure person just underneath this umbrella, perhaps like that. There's some plants here because all kinds of stuff here doesn't make sense yet. I'm just putting in some of the details and let's work on the rest of the buildings. So we know that e.g. wherever here we've just got a bit of the path I want to emphasize. So coming out, they're just making that path go all the way back here. And we can just start at this point, getting in some of the buildings. He is one of the buildings. It goes all the way into the corner, look at that rooftop, often to the edge of the paper window here. Separator in the center and a little nother kind of frilly thing like that. Here we are. We've also got another building here. It's kinda like the side of the building showing then you've got the top of it here and running down. It doesn't have to be perfect. Okay, maybe a little bit longer. And let's put in some windows, couple of indications of some windows here. There's a couple of windows here as well. Maybe a doorway in the center or something like that. There. There we go. We've got a bit of a building. Then of course we've got this one as large building that's just dominates really the white of the building. On the right's going up into the corner, but it's quite a narrow, looks narrower from this angle. Anyhow. I'm just going to continue on this pattern. Then of course, at some stage, they just gonna be tiny buildings at the front. But we can just look at that. I've got these kind of indications of this. Some more, this little shade there for some of these restaurants and things as even people, figures just standing at the front of this one here. You can put a couple of windows here as well, some more windows up the top and you can just make them just lines like this. For the time being. I end up just leaving them as lines anyway afterwards. Lot of this stuff is going to be in the darkness. So there's not a whole lot you need to imply there is another one here. Just get that in the side like this. Oops, that's bring that down here. We've got this nice blue building, just get that nice and blue building with the rooftop and the side. Get this side of that building in as well. And more of these shades like that early on the side. Lot of them really coming down all the sides of these buildings. Even some kind of cloth or something there as well. I don't know if some bits and pieces, tables, restaurants, whatever you can even have, people just get some people walking around off in the distance as well. Okay? Just want to imply this a bit better. Also in the background, you do want to make the figures look a little smaller. You do see a lady or someone just walking on the bridge like that forwards. And this is a good way to also imply depth and just create a bit more going on in the scene. Calming, going through these steps. Here's another figure there. Their head in the body I think is the part you want to pay attention to the most. Okay, making sure they're not too large is another one. That's why building year. It's just a boxed just drawing a box in the back. That here's a few more and it's up to you how much detail you want to put in with these buildings they can. If you put too much detail in it, does start to overwhelm the scene. But for most, most of the pie, a lot of these are just gonna be reduced down to basic shapes later. So I'm not worried at all. Not worried at all, especially the ones at the back here. You just want to get a little weird indication of what's going on. Look at that, even if it's just a loose indication of a house or something like that, you can really make make it stand out and give it some life. There. I'm going to just put in another layer or something here at the top. Again, just making some of it up. Now the buildings here on the left, we just want to work on this one. Here we go. We've got this shop here, of course, we want to put in this shop more of the shop details side of it, like that area. And what else do we have? Let's actually part of the other building here so I can just join that on like this. Okay. Now the part of that building, now the part here running down and they all just become separate buildings. As you can see. I'm getting closer to the umbrella area here, the back. Again, you've got these small little buildings running behind it. And there are some more complicated ones here. Just get the roofing ruse of these ones. Again, I'm simplifying down. Okay. Simplifying down. Picking out that one looks a bit too. Sometimes when you make them look too perfect or to lined up, it just ruins it. So I let me just change that one up a bit. There we go. That's better. That roof. Roof, I can emphasize like that. It's better. Just because you've got all these buildings in here doesn't mean you have to draw them in exactly as they appear. You can change them up. As long as the general context. You've got some of these buildings in, in that sort of style. You can really, you can really get most of the Indian. I'm not happy with that building. So just going to read, work that a touch. Just make it a little smaller there in the back. Okay, good. What else do we have going on? Bridge images, re jig this bridge or touch. I'm really going to look at getting some kind of shadow on the bridge as well. Running across, cast on that bridge from the year from there watching me call it buildings on the right-hand side. You've also got the chance to put in some figures that are a bit closer, little bit closer. Like they're just maybe someone just standing by standing by the boat, having a look in and make the figure a tiny bit smaller actually. Figure here perhaps in the front end, coupled with figures walking in these another one just close, closer to us as well. Can just, again, walking into the scene one or have another one here just to touch closer. Now the one much closer like here as well. Okay. Good. What are these figures really just add a sense of life to the scene. Got to have some of that in there. Just detailing some of these boats or touch now giving it a bit more refinement. Okay. Okay. Now the boat here in the front, I'll just emphasize that a touch more. This k that and of course, these buildings in the background, I actually go down quite a bit into the distance right here, so I'm just finished, finish them off at there. But then you've got these little reflections, but I'm going to simplify a lot of these reflections down. I can go and create more colors for the reflections, but it's one of those things you want to be mindful of that you don't overdo as well. Okay. What else do we have on here? Did just look some some little windows and stuff like that and details underneath. Okay. I think we are ready to get started with painting. 27. Venice, Italy: Light: Alrighty, So let's go ahead and get in the first wash. First wash of color is always the lightest wash of color. And we want to make sure that we're using roughly about 10% paint and the rest 90% water. And this is going to make sure essentially that we keep things light. They're super important. Let's start off. Let's start off firstly, sky, it is truly in blue and I'm using a mop brush, a medium-sized watercolor mop brush. Just picking up bit of that blue paint here on the side and go straight into the, straight into the sky. And I want this to be a nice flat wash of blue. Okay, That's all I want in there. No clouds. I'm always, I'm always putting clouds in my paintings. And this particular one, I'm endeavoring not to do that and I'm going to leave it flat as the reference photo. I mean, it's not exactly flat because the color granulocytes a touch, as you can see, nothing else in there. Simple. So we need the sky should really be the lightest part of your painting. This shouldn't really be anything else besides maybe some parts of the buildings that are gonna be lighter. So let's start off putting in some colors for the buildings. And this is the fun part because you don't have to be accurate here. You can just obviously use the, some of the colors that you see in the reference. But at the same time, a lot of these colors, a lot of these colors, just warmer colored ones. And even here, this bridging that we can just get a bit of yellow ocher. You touch of yellow ocher. Look at how diluted this is on the palette here, I'll just give you an example look at how diluted that yellow is. It's mostly, mostly just water in there and that's really going to help you again. And then a lot of this will look just so weak when you paint it in there. But actually once you start working out and putting in the dark areas later, it's going to be fantastic. This is a bit of the roof area and you can see that the rooftops, there's this kind of burnt sienna type color which I'm using touch of burnt sienna for the rooftops. And some of it is going to leak into the sky, doesn't matter. Just leave it. Let it do its thing. Burnt sienna there and maybe more yellow ocher coming down. I am just picking up some colors that I see in the reference. But I'm not really concerned about what exactly that color is. As long as it's warm. We do have some oranges we can drop in there as well, which you can see I've done that building. Leave some white as well. Always remember that because there are some white buildings in here. We'll go back to that yellow ocher again, back to that yellow area there. Where else can we put it in? We've got a bit of orangey color again. So touch of orange there. Why not? Little bit of orange. Building next to it is pretty much going to be white. And some of the rooftops that again burnt sienna, little bit of burnt sienna on the rooftops like this. Okay. If you notice too much of it leak into the sky, can always lift a bit off with the paintbrush. And like that and we're coming, coming through here might actually get in a bit more of that color there and just leave some of the rest of that bit white, perhaps. But as I move down, you'll notice there's also some lilac keep building here. That lilac color there. I'm going to drop in a touch of that. They're just a bit of coolness for the building underneath. Why not something different? And does make quite a difference as well considering how warm this whole scene is. But take your time, look at these more yellowy color there. And I'm taking my time because I'll have the habit of going in and getting rid of all the white. We don't want that to happen. Okay. I'm also mixing my colors with a bit of gray on the paper as well, just so that on the papers or on the palette as well. So that it doesn't overwhelm. It doesn't get too saturated. Okay, there we are. This umbrella bit of red there. Nice red color. Like that. I want it to still remain transparent. It's a tricky thing to do. Really quite tricky, but more of the darker red down the base somewhere like that maybe. Again, a lot of this stuff is a lot of this stuff will be done later, the shadows and that kind of thing. But we always just want to, my opinion, just getting a nice, beautiful wash running through here first bit more lilac color, just the continuation of it running down for some of those buildings. And it's also, I've done this strategically because I know I've got some red in here. And the red being quite a warmish color. When I mix it in with place it next to the red, you get some nice contrast there as you can see. Okay. More of these buildings and bringing that down, these buildings here in the back as well. I think I will get in a little bit of warmth underneath there for some of the base of those buildings, spaces of those buildings. Also, if we'd gotten these ones, more of these rooftops, as you can see like that, just more of the burnt sienna on the roof. And whatever else do we have here? We've got a bit of this color, creamy color there. We've got some more blue that's dropping a bit of cerulean, their little thicker but doesn't matter. Look at that started to spread into the sky as well. But I'm not too fast about that if you can actually just lifted off like that as well. Okay, When make a big difference. Let's have a look. What else do we have going on in here? We have this part of the building actually, which should be more blue. And this side oh, yeah, I'll just get that in. I wanted to leave it white. Actually forgotten to leave one of those buildings in the front. White, doesn't matter. Bring more of these coolness down the page you can add just running down like that. I don't care really about all the details. We're just trying to get in a little indication of these buildings and this is a bit of whites, a little bit of buff titanium. And I'll mix in. If I can get these all to mix together nicely. I've done my job. Bit more of a grayish blue color, maybe lie lackey gray blue for this one. Just a cooler but subdued down. A bit. Yeah. Okay. This building becomes a bit more of a burgundy color. See if I can get in a little bit as something that reddish color in there as well, reddish brown color around the figures. Moving down. Building on the right just has more of this yellow tinge to it. Now I'm going to put in a bit of yellow ochre like that. They'll blend a bit together. No big deal. Just let it be like a good look. What else have we got going on? I think we're just going to lower some of these colors and bring this wash further down the page into the foreground where we have very light colors. I'm going to pick up just this buff titanium color and spread that around. It's kinda off-white color. If you have something like that, it works very well. Want to keep and retain that light in the ground. So very light of a milky wash, rupee, sort of whitewash like this. Maybe, yeah. They're just underneath there as well. Like a little bit of more of that white color. In behind there for some of these boats, you can see they just line up against the wall like that. Excellent. Of course, leaving some of that white on there as well. Conscious of this bit here. I want to put in yeah, I want to put in some colors for the water. But what I'm gonna do first actually is perhaps getting some for the boats and I want to get in a little bit of color, but not so much that it overwhelms. Look at this one, just a bit of yellow there. Okay. Subduing these colors down a little bit. I think they look up to almost a bit too vibrant in some sections. Okay, so just a bit of coolness in these boats. Maybe some ultramarine blue for this one as well. Touchable ultra marine. Bit of turquoise for this one, or lilac. And have a bit of a play around with some of these ones in the back there. Maybe. Keep it light. Okay. I can just bring out those boats are a little bit more later on. But let's start putting in a bit of the reflections from above. I'm going to use some. Actually I'll swap to this little flat brush, round brush, just a tiny little round brush. I'm going to mix up some yellow and orange here. Okay, just create a bit of a reflection of the buildings to the back and it will hopefully blend with the you can see it just blends a little bit on the rest of the water. But this is what I want it to do. And even here for the book, you can see there's a touch of these flexion here in the water and some of this stuff does make a big difference. Okay. Some of these bring that down a little bit. Okay. Because the rest of it, I'm just going to get it in pretty dark color. Let me just put a bit more of this red or something and they're not too dark. Just try not to overdo it. Okay. Let me mix up a bit of ultramarine blue now, touch of ultramarine blue. And I'm also going to mix in a bit of turquoise color. So we've got an ultramarine blue and turquoise. Quiet, dark, I'd say pretty dark. Again. We start off in the back there, lot of wet and wet. And we're going to just bring this down and this down the page. Okay. Get it to spread too much. But you can see it coming through that orange reflection there in the back. To put a bit more down here as well if you want. I'm just weary that I don't want it to be two Gaudi bit more of this blue coming down. I'll mix some browns and a bit of gray into there as well, a little bit of brown and a bit of gray leftover in the palate. That's okay. Look at that. Start to come and get two together are in with this shadow here, not the shadow there, the goo reflection here as well. You can also see there is a nice combination of the darkness of the water joining up. You just touch and go and don't really spend too much time fiddling around in there. And notice how I've also got some little bits of white showing through the paper. That's something you might want to do as well. I like having it because it makes it look more interesting, in my opinion. A little bit of speckles of of just a bit of the sunlit water. I guess. I get down to the front more. What I'm doing is I'm mixing in a bit of dark paint. It becomes more grayish and definitely a lot darker. I've got some black even that I'm mixing in here to really darken this down a fair bit, but it's still the same color really that I've used up the top. Okay. I think that just cut around. And actually this boat is darker. I have to redo that boat afterwards and just make it significantly darker. Okay. Why not just putting a few little quick streaks of water? Darker water running across the surface of the scene like these tiny little streaks. And I'm just picking up a bit of this darker paint and flicking a bit of it through like that. Especially near the front. We want some darker, I don't know, Not ways but ripples of water I suppose in the back I just want to be careful not to get rid of all that light. There's some white in there, but also I can bring a bit of it back if I put in a bit of orange with a yellow again, just drop it in while the paper is still wet. We can get some of these coming back. But it works best when you just leave it as you can see there. Some of it, but I will just spread a bit of it around to touch. Okay. Good. So we are getting there. I think the best thing to do now is just to give it a dry off and come back to it. 28. Venice, Italy: Shadows: Okay, So everything has dried off now and the next stage is to start putting in these beautiful shadows. So let's get started and to tricky one because there's really lot of shadows on the right-hand side, but we also want to preserve the colors. So I'm going to start off, I'm going to start off with this one. Let's mix up a bit of neutral tint, awesome gray you can mix together, but the gray from mixing your primaries, yellow, blue, and red together. More, be more brown. And then I found that find the brown just helps to make it even more grayish. And it's getting it's getting a bit of this yellowy color to make kind of warmer gray, just trying to mix something up that looks suitable enough. Okay. Now, I want to use a lot of water for this as well. So I'm actually going to use this smaller smaller brush, like this little mop brush. Okay, maybe be more of a yellow running through. Yet. It's tricky because this is actually quite a dark section of the scene. But I don't want to completely annihilate the previous wash. Some more darkness. The brand and maybe bit of neutral tint as well mixed in there. Like that. I like to really make this all blend together. The buildings join up into one larger mass. As you can see, this building, he just needs to be darker. So a bit of blue and a bit of neutral tint. I'm just going to tint this over. Just a bit of that tinted color there. Good. Some of these buildings are actually pretty light steel when I am weary to go too dark as well. But notice how I'm just leaving in tiny little cracks of tiny little cracks in-between and stuff. So it's not all completely dark. I'll just skip over some area, go down like that. This is more of a brownie color as well there like that. Some of these shades and things here as well, there are actually some of them are pretty dark. Pretty dark. So I can just and I can try to do something like that and leave out a bit of that. The shade or whatever. Catching onto the biggest sunlight or, or whatever. It doesn't really catch onto the sunlight, but it's still something like that. That just creates a contrast, little difference, I suppose k groups. And further down the back there, we've got more of this bluish color again, and I'm going to just darken that down and touch bit of cerulean and a little bit of neutral tint. Okay? I want to, I want to really just darken this area but still retain some of the colors, these beautiful colors in there. Okay. Flat brushes just helping me to get in there with more little bit more precision to the roof, just refine that rooftop it a little bit like this. Well, maybe, yeah. Okay. Look at that beautiful color just sort of running together and creating something that I can't even do if I was trying to control it too much. Just bringing together the magic of watercolors. Get more of that blue running down there. And my plan is to bring all these wash further down the page and then we will create the shadow, the darker shadow on the ground that joins it all up a bit. Do you think I need some more neutral tint in this? It's to steal a little bit light. Areas. Do remember that we have. We have to create contrast in this scene. Okay? Some way down the back here, this is where the shadows just become a lot lighter because you've got a bit of sunlight peeking through there in the back. As you can see, that the rooftop, more of these rooftop areas still trying to make sure they're transparent enough. Mind you notice how I'm just combining and all joining an altogether so that it's still one big wash of that grayish color now for that shadow, maybe putting a bit of ultramarine blue to create a bit more of a cooler gray. And let's give this a go. So on the ground, Let's, I'm going to just join up firstly, this get it darker here on the ground. I know the base of the building. And see we can get in a general rule sort of shadow here on the ground. We're going to add just a bit of that shadow. I'm trying not to overthink it as well. I just bring that across the left side that the building is going to cast a shadow to the left side. As you can see, that some of them are gonna be bigger and run out a bit further than others. Sharp edge shadow that. Okay. But look at that. We're going to bring this across here. Just blend it up with the buildings and touch as well. So this is shadows have to form part of the building. And not only that I want to, this is just something I thought of doing. Create maybe a shadow cutting through this building, the bridge attached. Let me just see if I can figure out a type of a shadow that runs through here. Okay. Maybe something like this building here in the back just so you can get in a bit to the side of it, bit of darkness of the side of the building there. Underneath the buildings. K period. Making these shadows probably look a little bit more dramatic than they are, but making them still look like they're running to the left. Another thing is, you've actually got this. You can't really see it in my scene, but you've actually got part of the wall here that we need to outline better like this. Just the edge of the wall. This, okay. There is actually path or something here as well. Just another line, something like that. I can probably go in with some gouache later and further bring it out afterwards. Or at least I've left some light there. I've thought I'd gone a bit too far for a moment. Okay. Now coming to the left-hand side, this is this is going to be a little more tricky. But at the same time, at the same time, there's not all that many shadows there as well. Okay. While you see here, while the paper is still drying, want to just fiddle around with with this paint a bit, tap it around. And she just got to be careful with some of that has gone into the sky, but just flicking some of this paint creates something bit of texture, a bit of interest. Like that. Spray bottle as well can help. Okay, good. Let's have a look on the left-hand side again, this is where I wanted to put in that big contrast of that. Do this. Dark paint, almost 100 per cent paint. Well, just enough just enough water in there to activate it. Okay. Not no transparency really at all for this. I wanted to just get that umbrella and really dark. Makes sure that it sticks out. Just to get a neutral tint. I've gotten their stem coming down is some darkness around the back there as well. This is hopefully also just bringing out some details of the bridge. Okay. Gray popping a bit of gray in here as well. I'm just making this up. I don't know exactly what I'm doing, but it's just essentially creating a little bit of darkness near to the breach. As even little sharper shatter there on the bridge formed by the umbrella of the shadow underneath. Now that we've covered for the umbrella, here, there's a dark bit of darkness underneath these buildings. So just again, using some of this darker neutral tint I've got. And just using the flat brush and putting in some in some darkness and that darkness there. Good. Come to think of it. I might have to go over some of that stuff later just to really darken it out a touch. Because the shadows here, great. And I want to make sure that it's consistent with the other side of the painting as well. They are really sharp contrasts here on the left-hand side, as you can see, even underneath the bridge, you can see there's some little bits of shadows and things like Qia underneath. I'll just feather a bit of this dark paint. Then underneath the bridge should be little darker like that. The Bridge on the left is tiny bit wonky. Let me just bring that out a bit more like that. Okay. Hasn't turned out exactly perfect abridged, but it looks good enough. Okay. You can see even in the background these the war was sort of at the back where the boats are resting against as well. Okay. And this is also a great opportunity to getting some sharper sort of shadows on the water, reflections on the water, I suppose you can hold them. I'm just going to have a bit of a play around with these. These are just some sharp reflections on the surface of the water. I'll use this also just to cut around some of these boats as you can see like that. But I also, I'm careful not to eliminate all that previous light, that beautiful light that we have running through. Can you see all that amazing color in the background? I don't want to eliminate all that I want to do is just put in some little squiggly lines like this. For me, I think they just indicates some some darker reflections and things even on the bottom of the boat, you can see here, it's darker. Left side, there's gonna be a bit of extra darkness here to that. Anytime where I can do a few things at once, I'll do that. And in this particular case I'm combining, I'm doing the, of course the reflections and the boats at the same time. Again, this wall doesn't need to just be brought out a touch a little bit more, the more of these squiggly sort of work for the reflections of the water. Reflections running through the scene. As we get further down the page, you find that the reflections become more. Larger as well. Waves, little ripples now become larger. And this is again how you imply a sense of sense of depth in your scene. Starts to look a bit more detailed and even a bit of the boats create a slight outline and areas. It's impossible, I think for me anyway, in such an amount of time like this, to put in all the detail of these reflections for all the buildings and everything like that. But we can get in a good indication of most of what's going on here. Here's just a bit of work on the boat. Little bit of darkness on underneath the boat here. This one is actually quite dark. Or do this one just darken off this one a bit. Okay. In background, this wall was pretty dark as well. Just go ahead and get that in the side of this boat here. There's some darkness here. Okay. Tonnage reflects off in the water is not so much warmth in there actually. Let me let me just get rid of that. That will not be more than that, so it's better. Okay. I'm back in that boat is going to be a light on it as well. Try not to disturb that too much. Solder this book here, just a bit of darkness as well. Okay. Combining everything together, doing it all at once. Let's see, only way I think to route to efficiently manage and drawing all these paint in all these shapes. There's so much going on and of course you can get lost in this madness if you're not trying to find ways to simplify it. Okay? Maybe even the boats here, they're not so representative of what they look like in the reference, but they look good enough. Probably have to go through and redo some of these boats and details and stuff later as well. The ones in the background, you just simplify them down. Bit of color on the back there and you're good to go. Okay. So have a look. What else do we have in here? There's even a bit of darkness here. They're just underneath the white. Okay, What else do we have in our even a bit of this path is some dark, dark areas and then let me just shrink, bring that down to the back as well. Okay. You've got to really be mindful of the dark colors you put in here because there's so little of them on that, on this side of the painting, on the left side of the painting anyway, so anything that you put in there really sticks out, e.g. see these little windows, I'm just dropping them in with one single brushstroke. Okay. One single brushstroke and that's all I'm doing. Screen careful. Bit of that detail on top there. Anywhere that you see a sharp dark line, you can make an effort to just indicated in this top part of the roof, there's some darkness here just to indicate top part of the roofs. Like it's too dark. Maybe here. Definitely there. Some shadow directly underneath like that. I'm just being careful as well because I know there's really not much sharpness or dark colors here. So it touching go a little bit of, a little bit goes a long way. He's another window or whatever there as well in the distance. Some more there. They're Ahmad even redo, redo this part of the umbrella underneath the darkness. Just put it in another. Layer to further emphasize that darkness and sharpen it up a touch figure. They're just walking around another figure, maybe hear two people underneath the umbrella that I will just quickly indicate. Shadows to the left. Those shadows are too dark. Let me just under just soften them up a bit. Some more figures you as a person just walking here. And of course we can just get in. But a shadow for that one. And this one as well, just there to the left is a person here. Maybe a bit of a shadow to the left here as well. It's amazing just how little you need to put into indicate figure or a person. Really. It more darkness for some of these windows just to bring them out, to touch and look at that little bits of white that we've left on, you can see it's really made quite a difference, isn't it? Starker contrast. There's even people on the, on the top here. I will use this little tiny, little round brush for this tiny little round brush to bring out some of them. And I think the others will have to do later with some gouache as well. That's even the breach has a line of white gouache rank on top of it, which we will do later. Just a lighter color, I suppose, lining the bridge. Some of these little windows in the back. I tried to use the same brush for all the windows. Only because only because when you switch to another brush, especially one that's really small, it can often create marks that look out of place compared to all the other ones you've left. So even if the brush for in this case, I feel like it's probably a little bit big for what I'm doing for some of these windows. I still feel compelled to use it. I'm just imagining some shadows there. Some of those buildings. And they help in especially around the top of the bridge. Help to make the bridge pop out a bit more. Let's have a look at this part of the scene on the right. It is starting to come together. It is drawing for sure. Let's just going to put in a bit of little bit of brown, brown for these pylons that are sticking out quickly. Just a bit of brownish color like that. Oops, more brownie. The light brown, go over the top of whatever is left before as well. Normally that there's reflection or reflection. Shadow running, running to the left of them as well. Oops, haven't done that so well, but something like these, these these wooden pylons sticking out of the ground. It's just darken them off at the base of touch like that. I reckon I'm going to have to actually darken them a fair bit. Okay. I put another one here, another one here as well to keep it a bit more busy. Or if we should have one here right in the front just to even it out. Something like this. Hip that looks all right. Put in a bit of color for some of these windows now on the right-hand side, bit of neutral tint, droplet of neutral tint and year. And this is just going to be still a fair bit of wet and wet work. And I'm using a lot of paint in comparison to comparison to water here, barely any water in this mix because all I wanna do is just getting a rough indication of these windows. Did think about drawing it off first, but I think we should, we should be fine doing it the square now, I think may even be better because it's going to blend and appear more fluid. I don't want this area to stand out all too much and draw attention. Just a little bit of a little bit of it as fine. Even there that's like a separation on that building, but I don't want it to be too sharp so that the paper is pretty much as you can see, it's pretty much still wet and that helps Windows, couple of windows here. And then here's another one. Another one here. Every brush stroke you put in, you really need to think it over and think to yourself, is this what I want to do? And then go and execute. Don't try something out. And without planning in your head what it's for first. Okay. This is the kind of restaurant or something like that here. There's a couple of looks like there's a couple of waiters standing out the front windows use, we're just getting a few more of these side parts of the windows, top part of the roof as well when bits and pieces that we can emphasize This lot of this stuff on the right, we'll probably just blend in, seep into the paper a bit. It's not gonna be all too detailed and sharp. Simplify that. Just a few more bits there. And the people walking around on the right-hand side as well. I'm going to just do their legs with some black paint. Someone just walking. These these ones look like this? These ones, Yeah, look like this. In the sun. Catching onto VDI sunlight, they're more legs if some figures here in the background. Bit of shadow to the left as well. Okay. Shadow there to the left. Join that up. 29. Venice, Italy: Finishing: Okay. I'm just going to just continue on putting in any dark areas that I want to finish off heading. And I think this is a good time to do it because for the most part, the painting is done. It's just the finishing little finishing touches that I believe will bring everything together nicely. So let's give this a go. So just outlining some of these wooden poles and just underneath some of the boats as well, perhaps to get in a bit of darkness on some areas of the boat. Extra contrast, that kind of thing. Yep. This darkest bit of paint that I'm using is really what you use to detail. I'm bringing out the detail of the scene and the final add, the final contrast and things in because at the moment it's a bit in unbalanced. We've got a lot of darkness there, but nothing much joining up the rest of the scene to that darkness. So I think I want to you want to really redo it, some parts of it anyway and just bring out some extra dark contrasts in areas. Okay. Down a bit there. Balance that out of touch. These little poles would impose as you can see, like that. Don't need to do it for all of them, but just a bit more detail under some of these boats and they just go around. The boats, connect the north Korea and the bot connected with the water. So it makes it look like they're floating on top of the water. You can see it will behave. Darkness really. That did think of me putting a few more of these little larger brushstrokes and the front or something more here and there. I don't want to overdo it though. Let's put in some colorful these figures. I'm going to go with some lilac for this one person just walking around. Pink or something, just another color. Really. Leave that one byte. These two maybe there. What else do we have? The figures here? I'm just going to put a bit of red for their heads as well. Hope to maybe draw them out to touch. Okay. That's trying to soften this shadow or the edge of that shadow would touch for the bridge. Where else potentially I can bring out some darkness behind in that building. That good. It's too dark. Let me just soften that off a bit. Okay. This is just a bit of work to help the bridge come out of the light, the darkness, I mean, touch. Okay. The roof tops of these ones as well. Getting there, we're getting very close to the end point of the painting. Like I said, it's just a matter now of finding some little highlights right at the end and emphasizing them. So I'm going to ping, gonna get a bit of white gouache squeezes out on the paper. The paper, sorry, on the palette. Just a little bit of white gouache, it's opaque watercolor paint. Dry off the brush off nicely. Okay. And I'm going to go and pick it up straight from the palette, me a little bit of water. And we can go and do things like bring out this bridge here. This is maybe a little bit of white on top of that bridge and I will draw it out with the brush like this and small parts. I'm not gonna, just not going to draw a completely straight line, but just a little bit there to help indicate it. Okay. And not only that, there's also, we can bring out some people here just walking around like a bit of the light, whatever. Okay. Just the silhouettes of people maybe walking around like that. Probably have to darken those ones down a little bit actually. And we've got things like, I've actually forgotten to put in some of the poles here on the right-hand side, but we did have some running through here. I can actually use a bit of quash, little bit of white gouache, and a bit of brown paint mixed together to bring out some of this stuff? Yeah. Okay. Some more brown wash. Okay. I think that just these little poles or whatever quickly don't want to if I want, if I just take too long doing and they don't look natural. But you want enough detail obviously in their nuff accuracy, I mean, with the polls. Okay. Some maybe he used the bridge and whenever I make a mistake, I sort of just scratch it off with my finger in it works. This is something I always do. Helps. Which subdued that area so it doesn't look too obvious. Here's a few people, a couple of people, they're standing there. This is just a point of getting in some highlights on these people and it is something that's going on. And you can even do it for these buildings and stuff out here as well. Look, I can just example, we didn't get in this top part of the building. I can get that in now. We lost it. We can bring it back. Touch of that. But you've gotta be mindful that you're not overdoing it. E.g. see some of these windows and stuff they could do. Goulash or something in the corners. These frames, indications of frames, but look how quickly I'm doing them and I'm not dwelling in that area for too long. It has to be quick. Okay. Otherwise, it just it looks overworked. Not sparing with your application. You leaving that sort of darker part of the window in the center and everything else. Everything else. You can just indicate it be E back a bit in light. Maybe for that building. The main thing about gouache, you can just recover some of the white on the paper again and suddenly get a bit of contrast and interest. But really it just look how sparingly I'm using. I'm just feathering it through. Just touch and go in areas and a lot of areas. I'm not really even doing much. Here on the right-hand side. If Dan side, I mean. Hey, more white gouache, little bit more. Windows, frames, things like that. Okay. Oops, didn't mean to do that. Just wanted to put in a bit of highlight for that umbrella. And parts of it that matter. Bring back into that white on that building as well. We need to dot here or there for even in the boat. So you can see some year, just some little what do you call it, features in the boats. They kinda like these creamy colored things that they use to cover the the engines at the back. So I'm just going to put in some of that here and here that people here as well. Just again, a bit of indication of those shoulders and stuff. Maybe a bit of gouache and the right-hand side of these polls, little indication like that as well. The right side of the boat bring out some light. Even here in these boats like that. It's just a nice little addition you have on top of your watercolors. Should be finishing, touch. Forgotten to put in some little windows or these buildings at the back. Let's continue down. I'll just do this here. Okay. Fine. This little white spots underneath the bridge as well. I don't know what they are, but just yeah. Another thing is this pathway has kind of white on it here. I'll just bring it back quickly. That white bits for these wooden poles again. Okay. Gosh, doesn't take long at all to dry. And so by the time you've put in the first few brush strokes, the rest of it. You're almost ready to go after a minute or so. Put in another one, something there, maybe. Good. I think in the water we could do with a few little stray reflections or something and just This just picking up that brush. I'm drawing it off. And then after drawing it off, I'm just moving it through the page quickly like that. Little incidental bits and pieces. Okay. Alright, I'll call that one done. 30. Prague: Drawing: We're gonna get started with the good old drawing out. And first thing I wanna do is put in the bottom of this bridge and really where the bottom of all those buildings come in. And if we look at the scene, we've got probably the top of the buildings running through the center of the page. Okay. Roughly about there. But just below. Maybe about here. Is where the bridges. So I wouldn't say it's a third but a little bit. Be the little bits. Little bit more than a third. So let's go in and draw this line. Cross. It doesn't have to be perfect. As you can see, I'm just drawing it in little segments like that. Okay. And let's start off around about here, right about the center left maybe quarter of the way through the scene actually can see. Had a quarter of the way through the scene where this bridge starts roughly here. Okay. Hold the pencil right at the end. Hold it quite lightly. And let's get in this bridge simplified down. Of course, you might have to zoom in to part of the reference photo. If it's difficult for you to see exactly what's going on actually in the back, it's a little bit tricky. But I'm kinda getting the the top part of the bridge here first and then it comes all the way up here to about the middle part of page. But it does start pretty small area over in the left-hand side. Okay, so that's the general bridge. And remember this is the water. So we can just simplify this down. Might, maybe see if we can break this down a little bit as well. And the shape of the bridge, these little arches down the center, there's actually quite a few running through there. And I want to make sure that I've got the main enough of them in as well to keep keep things looking more. Breach like. Okay, there's one part of it there and you can see just the bottom part sticking out there. There. Okay. That's part of the bridge. Okay. That okay. This is kind of like that part joining onto the other side of the bridge here. Okay. And of course, another bit. This sort of darker section in the center of the bridge there. Okay. Darker bridge threatening suicide. Again. Let's just go ahead and bring this again, cross. And I've decided I'm just going to see how many we can get in. I'm not going to really bother too much with the accuracy of how many actual arches are running through this whole bridge. Okay. There we go. Another one. Here's another one. Hey, another one here. They kinda get a little bit more trickier to discern as we move out into the back. Okay. So just do a little shading under here to help guide me. Miss. Okay, good darkness in here. The ones at the back just become a little bit more trickier to draw in because he can't see all too much. About the end of the day. It's pretty far down the back, so there's not a whole lot you need to put in there. Now I'm just gonna get in the tower here. It's pretty small. But it is, I mean, it's one of the largest building in here still. The side side of the building, levees tower. Enlarge that a little. Just a box. Look at it as a box. And you can draw it in quite easily as you can see like this. Okay? And then we go a bit of this archway. Again like this bit of detail at the top. Yeah. This like that. We go and some of these smaller spires that go upwards like this. Okay. If there's something running through there, the heirs of the bridge at the back, I'm going to just try to get them to melting and not look like there's too much going on. Hurry, just focus more on these ones. Okay? And let me just outline this bridge touch. A little bit more like this. We can detail, add some more stuff in later. Of course, you've got all these buildings, so many of these buildings here in the background and simplification is always best. Just boxes and you can see a large roof top like that running there. It looks some of it I'm just really making up on the spot and not bothering too much with the detailing. But all this is gonna be pretty light. Very light. And here as well, there is a tower, clock tower that just runs up like this. Here. Like this. Maybe a bit of a tower or something like that. They're more buildings simplified down, of course. They all just run directly behind this tower. Extend this up a bit. That can even see them running through the back there like that, just near the water. And this is going to be quite crucial for these reflections as well. And some of them we're gonna just need to invent. Look some more rooftops. When here. Running down. Some more here. Yeah. Bridge again. This kind of a house, large building their box again, a box triangle here. And some bits of the roof like that coming up. Simplified. Also got a dome here. Just getting a bit of that dome. The dome itself. And I'm going to just going to bring the rest of it down to touch. Okay. Another part of that dome up the year going up. Okay. That's looking pretty decent. All this area here is a lot darker. This is center part of this building that just runs down into some light there, There's looks like there's another dome-like shape up the top here with something going up. Another clock tower or something here in the background, doesn't matter, something like that. Like that. The rest of it is really just some light here and there. Okay, so we've got pretty much the drawing in. The rest of it now is just some color. 31. Prague: Lights: Okay, So I'm going to be starting off putting in all the warmer colors first. And first things first, I'm going to get in a little bit of this warmth on the, on the tower here. Alright. I'm using hansa yellow with a tiny bit of what you call it buff titanium as well. Buff titanium and Hansa yellow. Little bit of that going in there like that. Something like that. Yeah. It's kinda gets a bit orangey over here. Let me just mixing a touch of orange, maybe a little bit of gray as well. Like that. Color is really light and I'm using pretty much 90% water in this whole mix. And all I'm doing is just wanting to get a quick, little, quick, little indication of the colors of some of these buildings you can even see here is a bluish building. This is just gonna be put in with a Buddhist tiny bit of cerulean blue. You've got also a bit of ultramarine there. Some more yellows. Okay. Darling down these yellow is a little bit as well. I've got some yellow ocher, just telling that one down that they don't look too. Just to sort of bright and kinda thing there look just a little bit of that color there as well. Some more yellow here. So you can see also just some of these lights that are causing some reflections in the ground. And also they run downwards. If we look all the way into the bottom part of the scene here, where we have the bottom part of the bridge, but I'm also coloring in the bridge as well. Getting some of that light. Good. Okay. A lot of this is just such a light color that I can barely tell what i've I've added some in there at all. Just very, very light wash, but you can see some areas. I do put it in a bit more contrast. It's very low, bit more saturated color like here on areas of interest. That of course I can get in some extra gouache later if I feel I've missed out and some of these highlights. Now we're going to keep the bottom part of it slightly wet. I'm going to just spray it down like this. Because we're going to come back to that in a moment. But for the top part, we're gonna get in some color. I'm going to firstly start off. Let's go with a bit of a purplish color. Do like the idea of these. Do have quite a lot of purple, actually different ones, but you can premix, use a premixed purple, we can use your own purple. Okay, Let's drop that in like that. And you can mix your purple if you've got a red and a blue, this is just a purple that I got on the palette. Already. Probably some larger brush would help like this. Okay. Go over the top like this. Because we've got all these yellows in there as well. They do help. The purple does help to bring it out. Create a bit of a complimentary color. See, just makes this down a bit. The great thing about these mop brushes is that they just hold a nice tip so that when you do work your way downwards. At the end of the day, you can still cut around everything else with that brush. Can you just around here? This is where things get a little bit tricky and I will swap over to a smaller brush, smaller brush, and just do a little bit of cutting around. I know that the yellow hasn't completely dried yet in some areas too, so I'm just being careful not to go over all of it. Okay. If some of it mixes are not too fast as well, just want to make sure that there is enough of a separation. I guess in some areas. You can't help it running into parts of it enough. My opinion, I think it actually looks better if you let some parts run into each other. Just looks more natural. Blends the background with a bit of the sky as well. So you get that just cutting around. The consistency of this paint is just a little bit more, maybe up 20 per cent paint. But you don't have to put much paint in this background as well because the purple is so dark compared to the yellow. Okay. But do remember it does dry. A little bit lighter afterwards. We're just continuing on and joining everything up. Okay. So you can see good. Excellent. Let's try some more purple. In some areas. Two indicates clouds or something running through this running through this area, but a bit more purple when I can get some neutral tint as well, just to darken down some of these potentially larger Clouds. Flicking these larger bits of paint around. They do disperse a fair bit as well, so you don't have to worry about it. Small few little smaller ones coming down would be nice like that. While the paint is wet, I always just try to put in as much as I can because once it's dried, it's very hard to get in a nice soft wash of paint. So I just try to indicate as much of whatever I need to. Clouds and bits and pieces in here. The painting is still wet. I mean, that's a larger again, I'm just indicating a larger cloud or something dark cloud running through like that. Well, that all those previous lines I'd put in and drops of paint, I've just more or less disappeared into the more or less disappeared. So these are just some that are remaining. Okay. Maybe just dark and offer bit here to emphasize the building. Buildings. Okay, good. So no one's larger clouds up the top and smaller clouds down the base tends to work better this way. Okay. That's pretty dark up the top. I'm going to work my way down the page now, as I said before, we do want to get in some of this light reflections and stuff like that in the water. I'm gonna pick up a bit of yellow. Let's just pick up a bit off the pallet and spray the, Hey, put down a touch as well here. Spray that down a little bit. This is going to allow me putting some reflections running down. They kind of touch in-between. If you look in-between these bits of bridges and stuff like that there you can see just some little reflections running through like that. And you just run down the page and do what they need to do. I tend to put more in than I need to because it's once we get in some of the darker colors, they just disappear. It's hard to bring them back again. Okay. Just bring in merge that yellow on the ground. The ground but the water. Okay. We'd be like that. Great. Okay. I'm actually just going to carry some of them further down like this actually does look a bit funny at the moment, but have some bit of faith and we will bring it all together in just a moment. So I'm going to pick up, pick up another mop brush, this one here, normal brush. And what we're gonna do. We're gonna go mix up ourselves some this purplish color as well. I'm going to add in a little bit of blue, tiny bit more blue in here, but mainly just, mainly just got this purple color. Neutral tint as well in there. Somewhere. Perhaps a touch, a brown. Subdue it a little bit. We're going to go into the water. It's going straight to the water and the water is dark as well. If we look at it, it's actually darker than the sky color. So I need to pick up more, a little bit more paint. I've also got a smaller flat brush that might help. Just bring some of this stuff down. I'm using the paint pretty thick. Dropping it on fairly thick as well. Just trying to get an impression of these reflections. I'm not trying to copy it exactly, but just the general gist of what we can see with those reflections. Running through the page and running vertical as well. Okay. They're just some more here. They're just coming shortly. Just come through the center of these shows and things as well. You'll notice the purple just blends on nicely with the rest of it. Some more. And I'm using a bit of darker purple to experiment a bit like this. Okay, That's nice, quite dark. Pick up this other brush and play around with that a bit more like that. Down the bottom. I'm just trying to feather it off a bit. Join it all up at the bottom. Okay. Here we go. Maybe. Yeah, look at that. Got some nice little reflections. Just joining it up a touch as well. Some of that white colors. Give it a quick spray again. You can move some of this color downwards again. Okay. Just reinstate some of these lines. You can just around the light. You can see. Okay, that's looking a bit better because they're blending a bit more like that. Okay. Excellent. Start to dry it off. 32. Prague: Shadows: Alright, so while it was drawing, I flip the bit of water sprayed and little bit of water around in here just to create some inconsistencies down the bottom because I am thinking I want to turn some of these into rocks, just create some, some sharper rocks down the front as well. So first things, first though, we want to go into those buildings in the backend, putting some of the darker shapes, dark shadows and things like that. It's going to be fairly quick. I'm going to pick up a little bit of this neutral tint. Whatever color you've got, just a darker color. I've chosen one that's a little bit more bluish. And I've got a small flat brush and it's about 30% paint, and the rest of it water. Let's just go and have a look at this building here now, there's a touch of touch of darkness on the roof like that. Okay. You really just picking up tiny little bits and pieces. But you're leaving in you're trying to leave in that previous wash as well. Okay. So don't want to don't want to overdo it. It's just you almost just detailing, cutting around, making sure that you're leaving in the nice that lovely yellow color that you've got in there. Okay. You mean you've got some little windows and things here as well. Can put some of that in here, the archway here, get that in as well. That tiny little details. Not much. In the way of some quick little brushstroke. It's all you want in here. Okay? Just implying the details here, Alright. Of course you can also just drop in a little bit of gray or something. Notice the little bit of darkness here on the top of the building and stuff. So some of these definitely help a bit. I don't want to overdo it though. Just a little light shadow or something like that on the side of this building? Yeah. I mean, really the shadows are coming from a variety of different directions, is not a proper light source in this scene. It's just the lighting from the buildings nearby, the lights and things like that nearby. We continue on. Here. We've got rid of a rooftop like that. You just get that in better like this as well. Another rooftop. If I can do it in one go, I'll make sure I handle it in one go. It just makes it much easier. Okay? A lot of this work here is just a touch and go kind of stuff. Little bit of darker color here, just a little bit of gray like that. Because the buildings right next to this tower, I can just add a little bit of something in there. You can see even on these buildings, the one to the left here, the ones that are left, just a little tiny bits running through it. This is really what I call detailing, just adding in small bits and pieces here in the background that don't look like much. But actually bring out character of these buildings. Okay. Darkness on the rooftops use well, with that in just a little roof top areas. Even here, the top of this dome, there are some and see some little bits of darkness and things I can imply like that. Soft enough if you feel like it's just too much. The trick here is just trying to preserve the light that's at the forefront of what I'm trying to do it every time I think of all the details and all that. Just stopped myself and remind us of what are we doing. We're just trying to preserve the light. Which means a lot of these yellow that you see needs to be left on there. The building to the left is actually pretty dark here and we can just go around, mark out some of these windows like this. Just like that. E.g. just cut around them. A bit of a darker color. Just leaving out parts of the yellow behind. Neutral tint. You'd be surprised a lot of these yellow leaves behind and darkness that you put on in front of it. Really create light. You are going to firstly need to cut around everything. Something like that. Bring it down further to the water that you got to remember all these shadows and things sort of German onto each other. So I'm trying to join on this darker shade to the left and joined it onto this building here. And also this shadow here in the front of course of the bridge. And continue on with this shape, really, this bridge here. So it's dark. That's for sure It's pretty dark. It's in front of everything else, so we need to definitely imply it. There. I'm just cutting around these little archways or whatever they are. The backup doesn't matter so much. But here, when we get towards the front, we just have to be more careful. General shape of it. Almost, almost there. This one in the front is just a bit easier to paint in. Larger. Okay. It's a lot of touch and go. Running on the distance back there. Might not be so visible what's going on in the back as well? Just these ones I think I need to get in better. Okay. She little windows and things running down the back. Simplified of course. This is just a little part of it. During running down. I will just put in a few verticals running through the back, just a bit of darkness running through in some areas. Simplify that down a bit. But the darkness, I think we'll just create some extra interests back there. Some downward blur, brush strokes as well. Here for the bridge and things like that. So I'm going to drive that brush, pick up a bit of that darker paint and just do this sort of thing. A feather that down. Okay. Here. It's crucial that you do it quickly as well so that you get some of that yellowy color just showing through the previous wash really. Some little finishing touches. I'm just going to use some quash. Quash a bit of darker paint, neutral tint. And I'm gonna go in and do some darker spots, bits and pieces. I want to emphasize. What I've done here is that I've just gone back into the scene and I've added in a few little bits of dark spots, as you can see for the buildings. Okay, just with some darker paint. Alright. This is just really bringing out the small details of everything that we've got. Because of course, has lots of looseness in here. I've also added in some imaginary rocks here at the front as well. Okay. I don't know. Pick up a bit of gouache, yellow wash, maybe a bit of white mixed into it as well. And see if I can get myself in it. If light or highlights or whatever on some of these rocks. Just kinda reflecting off the reflecting the light in the front of the scene. Background, sorry, of the scene. Like that. I've gone over some of this stuff as well, just to indicate more darkness in some areas, but I'll do it again just a bit more. Darkness, e.g. this top of the dome. Not really much to do it really, but just a small line there or something like that to define it. Dotted line here. The base of the dome like this. Yeah. This bits and pieces, chimneys and stuff here. Little bit of yellow mixed in with white gouache so that I can get in some final highlights. Final highlights, bit of yellow mixed in with white gouache. Really yellow. It's dropping in some areas here. Yeah, e.g. what else do we have? Bits and pieces really that we might have missed out previously? Trick is to really apply it. I'm in a quick manner so that you're not overdoing it. You don't want to use too much of this stuff. Some little streaks perhaps running across as well. Again, just utilizing that gouache to go over the top of some of this stuff, but very sparingly. Not much at all, just a little hint of it. Maybe a darker one line or whatever here. Also there are some just some darker little ripples or waves moving across the water. Just want to emphasize some of those areas. Join up these bits of lighter touch as well. We are finished.