Paint Venice in Watercolor: St Mark's Square

1. Introduction: Welcome. In this class we'll be painting an urban landscape of Venice, St. Mark's Square in watercolour. Learning how to capture urban landscapes in a quick, Fun and loose manner is an essential skill that every artist should learn to master. Watercolour is the perfect medium that allows you to produce spontaneous and expressive paintings on the go. Urban landscapes can be confusing to paint. The so much going on and an overload of detail. We can often get lost in their paintings. In this class are going to show you how to paint any urban landscape easily by using layering techniques and understanding light and shadow. Planning is crucial. I'll show you how to simplify buildings, figures, and shadows into basic shapes. Getting those large components in accurately beforehand is essential for your painting to make sense. So join me in this class. You'll see just how easy it is to create this amazing scene in no time at all. 2. Materials Required: So I want to talk a bit about materials. And you can see here, I've got my actual painting. I've got some brushes and palate as well. And let's talk a bit about the paper I'm using. Hundred percent cotton watercolor paper in medium or rough texture. Great for washers and getting in these nice wet wood affects a Fine. It's very difficult when you using smooth hot press paper because there's just not enough texture in there for you to be able to add in clouds and things like that, especially when that paper dries so quickly. So that's what I'm using and I do recommend you getting cotton paper if it's possible. If not, you can use normal cellulose paper. Only issue with that is that it tends to, when you go over that second Wash with the dark colors, you may actually pick up some of that previous Wash. So just keep that in mind. Now in touch brushes you can see here, I don't really use a whole lot of them. I've got some of these ones. Here's the left, and these are the main ones really that I use in this scene. We've got three mop brushes. Large mop I use for most of the sky of also even this one here to get in some darker parts of the sky, maybe lift out clouds. Sometimes I switch to this one as well, especially when we're talking about these smaller shapes here. Or I guess this large shadow shape. And I've got a little round brush here to get in small details. So you can see just up here on top of the tower, some of the windows, some of the figures here as well. The round brush just allows you to get in those details and not have too much water in the brush and you have too much water in the brush, especially meetings, more details, it just runs and lose what you're trying to detail. So those are the main brushes that I'm using in this particular scene. And here's my palette. And you can see I've got lots of colors on this palette. I tried to pick apart that has large mixing bowl. So that way, especially when I'm trying to mix up a large area of paint like this, you want to make sure you've got enough area to just mix it up so you don't have to keep going back, mixing more and more in and getting confused at the concentrations so large and mixing wells make it easier for you to get the consistency in your paintings. So a few colors that I'm using in the sky. I've got the cerulean blue over here. I've got some burnt sienna and I've got some black here, basically some lamp black. This is some gray that I've mixed up. If you've got a yellow or blue and red, if you mix them together, you get a really nice gray. So I do have my own neutral tint here, which is a convenience color. It's basically a gray, a premix gray. Here on the ground. I've used a bit of that gray in a bit of yellow ocher as well. So just this color here. Yellow ocher stood nice. Nice, sort of muted down yellow. And I use a bit of it here on the buildings with a bit of buff titanium and buff titanium is just this one in the corner here. And it's off-white color. So that's about it. For this scene, I also use a tiny bit of white gouache, sometimes as you can see, to just draw in some highlights or some additional details on some of the figures. So it's another thing to keep in mind. It just comes in a tube like this, and it's basically opaque watercolor 3. Drawing: Alright, I've got this amazing photograph of St. Mark's Square here in Venice. And as complicated as it looks, we're going to simplify it down and also try to get in all these figures. Few. There's quite a few in here and I think we're going to use them as a guide. I love the colors on some of their clothing as well. So first thing I wanna do is look at the base of the buildings and figure out roughly how much space we want for the ground. And I'm going to just pencil in tentatively line around about here. You'll notice that this scene is mostly, you've really got a lot of the sky and the buildings and not much of the ground. And I think the reason for that is we've got this gigantic tower on the right-hand side and it doesn't leave much room, do need to make a bit of space for that tower just between the top of the tower and the edge of the scene. So let's go ahead. I'm going to figure out roughly where everything lies and scene. So we know roughly here, I think this is a cathedral, some sort whatsoever events a few years back. And I didn't end up going in there. There was a huge line. I'm gonna just, again tentatively just pencil it in rough location of where it is. Now, we know the tower isn't it isn't right in the center. It's a little bit right. Okay, so I'm going to start penciling it in. And relatively, you're just looking around to see where it might finish as well. So say about he starts here. You've got it going all the way up. You might be tempted to use a ruler at this stage, but try your best not to. You can build those motor skills by drawing. And I don't always, as you can see, I don't always draw just one straight line. I'll draw it in little parts like this and reassess it. We know the tower ends about here. There's a bit of space on top of the scene and we need to leave a bit of space there. So I'm going to just roughly ended about here and get that point in. I think this tower is quite crucial in terms of just making it, making inaccurate. Here's the bottom of it. And you'll notice that the bottom there is this kind of rectangular section like that. Rectangular section. Okay? And just getting in a little bit of the edges like that. And some more here. Just a little bit of the top part of the the point is, well, there's some details in there. Notice underneath is a few of these little bits in pieces like that. Let's one area. They're a bit of darkness under there. As you start moving down, you've got this whole area that's kind of all whites anyway. Okay. And you've got these four kind of How should I put it, these four little viewing areas here? And I'm just gonna go again, pencil these in roughly where they are. I'm taking a bit more time here because this tower is quite a quite a prominent landmark. And we have to in a bit more effort, I think with the detailing. Apart from that, I don't see too much else that we might want to add in these pillars. They just run downwards. You can see that they're running across like that. Good. And you've got these four kinds of know what they are. 1234, these four bits that just run down the building, the tower. I mean, this. And I'm just implying it at the moment. I don't think I want to draw it all into accurately. Just have a indication there like that and I can go ahead and detail it more as I move through it later. Sides of the tower though I will just work on a bit more, just make them straighter done here. If some reason I had a bit of something in that corner, get rid of that and bring this one down. I try not to use a ruler because sometimes when you're doing some drawing, are you doing some Painting outdoors, he may not have a ruler with you and being able to actually estimate shapes and accurately get the mean by, I think is really important skill to have as an artist. If you miss out on that, I think at times your paintings can be a little bit too stiff. I suppose. Some level of imperfection, I think is really important. Strangely enough. So here we've got, I mean, there's all these little windows here in this 123. Who knows? All bunch. I'm just running down fast about that. More. Trying to look at this bit here in the back, and this is the palace here. And of course, coming up here. We have got a part of this set of buildings running to the right and estimating where it finishes on this right-hand side of the pages important to and it's not exactly in terms of patterns. Sometimes they finished about halfway through the page. So I can match, match the halfway point of the page, but this one actually finishes roughly about here. So I take a general starting point because we can pencil put a mark at the halfway point between the top and the bottom of the page. And then just sort of estimate roughly where these this building will go out to. Roughly here. Straighten that up a bit more like this. Okay. There's a couple of floors Actually, there's three floors is one. There's one there. You go to third floor of the bottom. Okay. Isn't little umbrellas and things also running across? As you can see, they overlap with each other a bit like that nicely. Okay. That hue, you just gotta be less section like that. Picture, that rooftop. And a lot of this stuff we can actually indicate later in Watercolors. But I think the important thing also just to pencil in some of these like these, these are just these windows that are sticking out there. And I'm really trying to simplify them down because I wanted to leave all this heavy lifting for the Watercolors later on, I think. Always have to remind myself I'm doing a painting, I'm not doing a drawing. But keeping making sure that that drawing is representative. The drawing reflects the actual scene out there as well as it has to be really good guide so that you know what you're doing. When you come in with the paints. Just separate this building in half roughly here. The one all the way in the background. You can just see a few little, if these darker bits of the building there as well. That bits and pieces in front umbrellas, all kinds of things you often find over and Venice this, this whole year and the side and near the touristy areas, they're just filled with restaurants and people sitting at tables. Okay, so alright, so we've kinda halfway done with the buildings. Now we're just going to have to put in a bit of effort here with this center part. And there is this is the cathedral. And having a look at roughly how far I've got it beginning, I'm thinking this is roughly the right spot that I've got an I want to make sure I've got enough room. Firstly, it across like that. Now, some patterns. We have one main areas that are darkened area in here, like a doorway, like that. You can see. Then we've got two on the sides that smaller, so 12, maybe even a third one here, something like that. But mainly you've got the 212 like that. Little bit. Another one here on the side. And then here you've got another one here like that. And of course you've got these This top part there. Important to make it symmetrical because it is symmetrical, of course. You've got these other two parts that just run up. So you got one or same sort of replicating onto 12 like that. Now simplifying it down, not too much in there at all, just simplification. And on the top we've got, oh, there's all these gets quite tricky, doesn't it? There's all these domes and things. I mean, there's one back here, there's a larger sorted dome and you can see it just going up like that. There you've got a larger dome here. You just kinda just picking out some another term that overlaps with it there and the top of the dome, you've got these little bits that stick up into the sky. This one's got a more prominent point like that. There. You've even got one over here. Just almost overlaps with the tower itself. Again. Little top of it coming off. You've got all these little bits and pieces. I don't even know what these are, just these little bits of the left-hand side. I'm not going to bother too much with the detailing. We've got a little building here. Look at that. Just a small building that runs off the side. May have gone too far with that doesn't matter. And you can actually see the roof top like this. Just comes, joins on with the cathedral. Good. Starting off here in the back, we have some more buildings. I'm just going to draw them in general. Quick little blocks. Having a look at where it finishes on the page as well. And here it actually is a bit lower than halfway point, so we can mark roughly the halfway point and just take the point slightly below, like here. I'm going to just go through and join this, come down roughly like that. Okay. We know that there is some kind of a tower here or taller than this building, but it's roughly about here. Okay. That side of this little elevated part of that building, It's runs through it. Make this a little bit taller, perhaps like this. Or I can make this building a bit shorter actually, that might be better. Like we somehow got a few more buildings you in the back, it's tricky to see what's going on the way up here. Just make some separations in between the buildings. This larger one here again, a repetition of the one on the right. So you kinda get three floors, 123. Just like that. Easy and just like that. And we've got some little I don't know, I think they're umbrellas or something that sometimes it was some construction work going on in here so you get bits and pieces covered up. I don't want to getting whatever that is. There, maybe a bit of darkness here, something like that. But I don't want it to be just all I want it to be kind of maybe looking like this, some tables and things like that, people just dining there. Again, this whole section is quite similar to the one on the right way, just because that just getting in these two floors simplify it like that. Now we've got most of the buildings, in all the buildings really. What I wanna do, just realized I missed a couple of windows here, but what I wanna do now is start putting in some detailing for the figures. And the figures are quite important, I think. Bring a sense of life to this whole scene without people. I think it's gonna look a bit strange. So let's go ahead and work on some of the figures. What I'm doing now, I'm just outlining the tower a bit more so it's easier to see. A little bit easier to see you on camera. But we've got some figures here on the left, some on the right. You don't have to put them all in. You just have to pick a few and change them around a bit until you're happy with how they look. For example, without one here, That's it. That's a figure. And just put in maybe the top, that person's wearing a dress or something and Leg is another leg coming out the back. That's a figure there. Of course you've got a bit of a shadow running towards the left-hand side. It's kinda like left and up. Little bit left and go into the front. And all these buildings are just all in shadow here. The right-hand side, very stark contrasts. Even here you got, I don't know what they are. Umbrellas of some sort. Maybe they're also just maybe some restaurants and things there, but you've got figures just walking around here in the background doing their thing. And your job is just to put in a few and tell that story of a busy for anywhere from me anyway, a busy day out and in Venice. And you might want, you might not want so many people, you might be happy just having a few here and there. It could be a different scene for you. Could be maybe a quiet morning or something. But for me, I do want to just get in this busy few of everything going on in here. That's what I'm trying to do. I'm just trying to add in different figures and bits and pieces in here to make it look more realistic. And you can also put a larger figures. So this is larger figure maybe here in the foreground, similar to that one there. Backpack on perhaps just like this, like a sidewards sort of figure. Coming out like that. Shot, maybe wearing some shorts. Leg forwards, one leg forwards, and the other leg going backwards like that. Okay. Get that shadow to connect up a bit like that. Okay. There you have it. You've got another another figure here walking through the scene. The head is probably a little big. I'm going to just shorten it down a bit. That could be 0s here on top or a cap or something like that. We've got some more couple of people here just going to change the stance of them a touch. Maybe they just talking to each other. These 2.1 of them's got my hands up and down like that. Just talking and having a good good time. It's getting some legs like this one. Maybe the other one here, they're just standing up, right? K. Just making it quite a simplified scene. Okay, there we go. And shadows again, just running towards that left hand side helps to just make things look more consistent. You know, you didn't go to smaller boy here that's just wondering around. Maybe it looks like he's lost his parents or something like that. You've got small figures here in the background that counts how many they are. There's really not much to indicate there, but the little ones in the back or give the big ones a proper sense of perspective and proportion. And then what does he keep adding these smaller figures in? You realize, it actually makes sense, makes these, these figures appear larger and closer. Something you really have to remember to do when you are. Drawing is making sure that you create figures that are smaller in the front, jaw, figures that are smaller in front, the back. Otherwise you're going to look like you've got giants walking around in the backgrounds. Really important to do that. Good, a few more figures just walking around. I'm going to simplify these ones down, so I'm not doing this all day. I think a few a few figures there to the left. I'll probably detail them a bit more later as well. I can even get a larger figure like this, just walking into the scene. Too big. Shoulders in around the same level. Shoulders like here, hit here. There we go. That's better. And leg and leg. Walking into the scene, helping to direct the eye forward. Someone just figured just standing here doing something or another, holding onto something there. It's all really up to you. What you put in here. Make this one a bit tiny, bit larger. K, looking good. I think that's going to do the trick for the drawing. Okay, so let's get started. 4. First Wash: Let's go ahead and get started in the first thing that I want to do is work a little bit on the details of the buildings themselves. Mainly this one here I think to start off with, I'm going to be use some brown. Now it doesn't matter what brand you have, but try to keep it light, so just water, water it down. I've got some brown ocher here. And what I'm going to do as well is I'm going to mix it up with a bit of orange or a tiny bit of red. Okay, to just get in a bit of have you've got, if you've got burnt sienna as well, a fantastic color to use, that's probably gonna be perfect, but I'm just going to use a bit of this makeshift reddish brown color. Can maybe tiny bit of orange in there. Remember to keep this Wash soup bowl light as well. Okay, That's almost too dark. I'm Jonah. Better. Suggest water it down a touch more and put a bit more red in there. Like that. And I'm just going to come down, but I like this. Okay, just cutting around that white section as well. That a beautiful orange, more engineer like that, That's better. Okay. Just wanted it more warmer. There we go. I'm just going to bring this down nicely to roughly the base of where these figures are. Not. Touch anything else really just get to that base. Tricky. Okay, good. Something like that. Goes right to the edges as well as missed out and some of this left-hand side part of the building. And here's, we'll just, It's quite important, I think, to this tower to make things as accurate as possible. I'm going a little bit of that orangey color in there. If it's granulate out or it doesn't look as perfect, doesn't matter. I'm happy with how it appears, even if it does have a little bit of a splotch genus to it and makes it look more realistic if you asked me. Okay, good. Let's put it beautifully it up the top. Red brown, red, orange brown, red orange. The top here. A little bit of color there. It's all you need. That white border. That good. Alright, I'm going to work on these buildings or touch while I'm here. What I will do is mix-up bit of yellow. I've got a vibrant yellow here. I've also got some other hansa yellow. I'm going to mix up a little, a little bit of that with some of this white bit of buff titanium white color really, and an off-white color. And I'm going to use that to paint these. It wouldn't see off to the side. And a lot of water going through the load of water. Just wanted gentle Wash going over the top of these buildings. And it looks a bit like Naples yellow. I don't have any Naples yellow, but it's basically just an off-white color, slightly yellowish color. And you can make that very easily to have to buy it separately. Maybe. Just a little wash of color on those buildings like a tiny bit and dilute it down a bit more and start working on this one. I'm going to have to go over it again afterwards anyway. But a bit of a back background wash for those buildings is really important. I've chosen to go a little bit more yellowy. You don't have to do that. You can just leave them white as well if you if you like. Okay, when I'm adding in a tiny bit of that yellow in there, even for this these buildings to the left-hand side like that, just a touch of touch of white in there. Like that Yellowy, white will dry off and it will look a lot more subdued. Think on top of this building, I'm going to leave it. What we can do is work a little bit on some of the details. I've just got some gray on this smaller brush, smaller round brush. These little round brushes are fantastic for detailing. And I'm just going to go over the top in some of these areas to get a little bit of gray. Do the darkness in here. Mostly just water. Even some little bits here. Just quickly get in a few these windows. It's not going to be the final color, but just an indication of where they are or what have we got up here? We've got bits of the the railing and stuff as well like here. You just using this little round brush to indicate some some small details. It really just drawing with it. Okay. And you have to be careful because this is mostly just white. Why did you say you really trying your best to leave in most of that previous wash in there. You've got these little circular thing demos here as well. Running down the page. I can do them later as well. Just start them off like that kinda thing. Bit more. Yeah. Some vertical strokes like that. Gray like that here. The top section near to the white. Okay. Alrighty. So now what I'm gonna do is start getting in some background color, this beautiful blue color. I'm going to use flat brush as well as all these kinda mop brushes that I have as well, these larger mop brushes. And we're gonna get it all in. And I've actually got a tube of cerulean that I've mixed up over here on the side. This will just make it a lot easier. Squeeze out a bunch of that. So cerulean on the palette. I've already got a bit of that cerulean there. And I'm going to just add some water. Okay? Let's lot of cerulean actually need that much water and straight in there. Now, I am going fairly dark. And with this cerulean as well. And especially as we get near to the top of this scene, that's where I'm going to go darker. But also around the edges of this tower is really important because it helps to kinda cut around and give that impression of that white sticking out through there. So I'm really trying to get in more of that more of that color through there. Tricky. Okay. Move down the page that maybe you need more cerulean actually. Continue on this side as well. In some more this trying not to take too long to do it as well. I think I can get really suck it into spending too much time on something like this. When sometimes the faster you do it. I mean, within reason, the better it looks. Okay. We'll have to probably extend this out a little bit further later. Bit more blue. Cerulean Okay, now that that is done, I can just relax a bit and get the rest of the scene. I think we'll will have to extend this out a touch though later. Almost soften it off. We'll see how we go. More blue cerulean, spread out some of this stuff, started to around a bit like that. Okay. The this side as well, the tower. Pick up my flat brush again and just quickly get it in that side. Darker there. Okay. Good. Stick. Work our way through the end bit more on the top. Might just get some of the more of that page is coming up more and more cerulean rather than having a wet pre-vet. My other stuff. Cerulean is very very light color anyway, it's difficult to get in. Make it dark at all or almost impossible really. Create some little inconsistencies in areas. Okay. Okay. Cotton around these two dimes. Someone that small blue here. Like I need a bigger brush. There we go. Shown to smooth this out a bit and I might even add a cloud or something and then some clouds. We'll see how we go. Just want to cut around those buildings, get that, add the way first and have a look at it from a distance. Some reason this cerulean I have create this weird kind of bubbles on the surface of the paper and I want to just smooth out some of those bits and pieces. The paper is still wet. So you can see just causes a bit of a mess if I'm not careful. K, This gets a bit dark. But I don't mind too much. Like a nice little thing I tend to do as well as that. I'd like to blend bits and pieces together. So might look at, say, for instance, like a bit here and just add a little bit of water in there. We've been bit of water up here to indicate that the towel goes out further, which it does go up further. I'm just a little bit of water up the top. Tissue helps for sure. Soften that edge a bit. Just scrubbing a touch also have a filbert brush which probably is better for these sort of thing. Scrub off a bit like that. It strangely just joins it onto the background of touch, but still creates enough sharp edges in most of these areas to imply that the building is there. But it pushes it back and blends it nicely with the background. I like this effect. But again, you don't need to do this. It's just a personal thing. More than likely I'm gonna go back in it afterwards with some gouache as well when I bring out some highlights. So you can see here I'm doing the same thing with this filbert brush. I'm just finding bits that I can scrub and lift I've done away with that idea of having some, some clouds and there, you can do this thing like for example, if you wanted to cloud here, just scrub, scrub a touch, then lift off like that with the with the tissue. Okay. You've got an indication of a cloud. You can do it here as well. Just put in a bit of water and just dab and liftoff. It looks like there's a cloud there. Creates a bit more interest in the background. You don't have to do this. Okay? I think I'll put another one here. Even near to the top of the tower itself. You could play around like that. Be more sharpness. Okay. Notice how I just joined it onto the background a little bit. Effort. Sharp edges are important, but also so as soft edges make things would move, join together and the PMO, peaceful as soothing on the eye rather than having too many sharp areas, it just creates some relief to the eye when you've got some softness running through in here. And these clouds are a great example as well. They really helped to bring out some softness. You've got these sharp as shapes over here. But I've gotta be careful not to over do it. So just knowing when to call it quits and I think I'll stop with that. There. Now the ground, we want to get in some little bit of color for the ground. I'm going to pick up that same mop brush that I've had medium-sized mop brush. I'm going to pick up a bit of gray and yellow mixed together. Like a warm gray I suppose. Let's try that. Really graze. It needs to be really light, still in the ground. This is some yellow ocher, something like that. It is grouped more gray that let me just pick up some of these. The go, this is just neutral tint. Okay. If some of this color from the top can blend down a little bit, I think that'll be good, but pretty sure that area has already mostly dried all this stuff up there that I painted it in before. Little trick is you can just spray it down a touch to spray bottle like that. Okay. I'm just remembering to keep this Wash real light as well. Probably even got it too dark at the moment. It doesn't matter. It will dry off a bit lighter. Anyhow. You go trying to cut around the figures as well so I can getting some colors for them. Okay. That just bringing this Wash downwards. Okay. It's also good to just have a bit of extra darkness down the base. So adding a little bit of gray, darker gray down at the bottom, I should've done this to the sky just to make the sky a little bit darker at the top. It's a good technique to to carry out. I'm not just spray down the top a little bit. Okay. Just like a little bit of spray. Re-wet that top area of the page. And I'm going to drop in and loose through and not cerulean blue little bit of ultramarine up the top. Mixed with some cerulean. I want to just darken the top of it a little bit. K helps create some mixture of extra contrast. Just a touch of that color. Then let it sort of blending. I will just spray the beat here as well. Helps to naturally let it blend because I don't want to go over those very clouds further down the page. Water, content, the spread a bit round 5. Second Wash: Alrighty, So now for the next step of the painting and what we're gonna do is essentially getting all the little details so the windows, doors, really dark areas that figures the shadows. And I'm going to keep it simple and just use a bit of neutral tint. I do every bit of black here as well. And some purple. The purple I use, mix that with neutral tint to create a cooler. Gray. Alright? One of the big things I wanna do first is just getting this building here. It's just a large sort of shadow that runs over the top here and this large dark shadows. So these way to do it is just threw a big Wash, going to use some purpley color and there's only one way to do it. Straight into it. Okay. I can just make sure that I've got enough space here as well to get in this side of the building. Like this, sort of sticks out like that. Comes down. Then this part just comes down again like this there. Okay, good. Now we have to soften this out a little bit later with that filbert brush, but worry about it for now. I'm just getting that in. I want to try leave some of that previous wash in there as well. So it's yellow to imply, add an ID umbrella or something in that section. Brown mike, be good in here as well. Just a bit of warmth. Running through this block of buildings. You can see here there's like these little parts of the buildings in the background that you can just getting some small little details with like that. Okay. Darken up some of these areas in here. Taka sort of shadow here, running over the top of this building. And this is caused by that tower. Like that. Something like this. Imply it. In there. Lift off a bit of paint from here at finding some areas of darkness to to really, really just draw underneath the domes. You'll notice there's a bit of darkness, the curvature, some of these little areas like that, little bits and pieces dark underneath there. You've gotta be a darkness here. You got it some here. Trying to simplify it down, of course. So just a soul, just a bit of black. But I've picked up okay? In bit of darkness in here to indicate the floors of the building. Go back to that later. Windows. Any darker bits? I want to add in? Filbert brush again and soften off the top of this building. Some of these areas again where it joins on with the sky and unlike to just soften it a bit so that it just blends in areas like that. Okay. It's actually got a bit of a shadow running on the ground. Like that. It'd be to the left to see, but it'll bit of a shadow. Just to the left. Buildings to the left. Small black. And again, I'm just going to simplify this down. I don't want it to take all day, but look at these little little dots and things that I'm putting their just indicating the windows. And you can actually see the top of this area as well. The rows. Yeah. Of course you've got some of these windows, doors. As you get towards the back, they become smaller, closer together, like that. They start out pretty big. Little bits and pieces on top of the building. How the sea, but they kinda like stick up, touch that. Getting some black in here just to get in some of the windows. Now, these areas mostly dried so I can actually just go straight into it. And indicates bits and pieces of the details. Hopefully, some of it actually just melts in nicely where it's where it's wet. I don't want there to be too much sharp details like that. Let's see how the floor again that we were putting in before. But of course, we've got these like just one brush stroke really to get in these little windows. Whatever you like that. Simplified. Welcome to figures a bit. Some colors. I trust them yellow. For this one. Move to something here. We see color lavender. There. There. Maybe be more reddish color for this one here. Pink or something like that. Keep them light as well. You didn't need to really put a thick layer of color through there. Good. Just picking up random colors off the page. Palette, sorry. Doesn't matter really. What color the shirts or anything. I just liked to eat a variation, few different colors running through there. I'd also don't want it to be too colorful. I can start to make things look funny. I'm gonna get black. And putting the legs of some of these figures now is one, this one, I'm trying to just get them to blend in a bit more with the clothing. Smaller, round brush I think will work better. And this back leg there like that. I'm just dry brush this off the touch and get that occasion legs in. Skip over areas as well. If you need to. Find this helps just sort of even just dry brushing them on at times. It's getting this figure, this one here trying to get them all that. The color is still wet. That way. It's blends in nicer. Just standing up, right? No problem. Like that. Here. Your one here sustaining, walking. Blue ones on the distance to get the mean, but do the same thing, really. Just make them smaller. Even add ones that weren't there before. You didn't put in before just something like this. Shadows are quite important as well. So I'm going to get in a bit of that shadow, some purple when a bit of darker color that I don't want to overdo it. Just be careful and just get it in. Hopefully with one stroke like this if possible. Make sure the shadows all running in the same direction. Two really important. Otherwise it's not going to look, right. Look at the general angle which all the other shadows are running and match them. Match them up. The era we've got some decent looking shadows in now. I will work on perhaps some dry brush stuff on the grounds. We'll look to some perspective lines. Okay. Just running through the scene that just imagine a point here, right in there. And then draw a line going out outward from there. Like that. Repeat, for example, down here. Be very careful. We're just going to dark as well. Just it's almost like a bit of dry brush, if anything, just coming through and helps to create a bit of dimensionality. Okay? And you get little breaks and things as well. You don't have to get them all in, but why not put in a few here and there? Like that. That helps. Just gives the ground some texture and interests, but not too much so that it draws away from the scene itself just enough in there. Enough little bit of reading for the faces of these figures is just a drop of red diluted out. Also these ones in the front, I think it will just make more sense and kinda look like they have their arms out as well talking to each other. That this one just looks like they're facing GMB, right? This one's facing left and just talking to each other. White shirt on bootlegs on that one behind. But of white gouache. You can do things like Indicate just a bit of detail on the shirt or, or whatever. You do it to all of them that just extra little touch of detail. Sometimes they, you have figures that hold Bags and things like that. So you can just imply something going cross like a sling. Like that. It makes them look more animated. And really stick. I find when you've got a little prompts, I suppose, I'm trying to just lighten part of that figure because I accidentally put in some color before. Tiny details. Colorful the hair or something just dark here. To have to do it. And we're really done here is just finding perhaps some additional bits and pieces you want to want to potentially add in little details. Filbert brush, again. Just soften off some of these edges. Can do this with any brush. You can do this with the round brush or even less. I just love having some of these soft contrasts in there. Helping to join things up nicely. Blending to notice there's also no darkness running underneath the buildings into the back and stuff like that. So you can play on that and should have. I'm dark and often areas like these. Extra darkness in here. Okay. I'll call that one finished