Painting the Nordics: The Ultimate Watercolor Class

1. Introduction: Welcome to an exhilarating journey into the world of watercolor painting where every brushstroke tells a story, and every scene captures a piece of the Nordic magic. Have you ever gazed at a breathtaking nordic landscape and dreamed of recreating its enchanting beauty on paper? So whether you're just beginning your artistic adventure or maybe looking to expand your creative horizons, this course is your invitation to transform those dreams into vivid, impressionistic masterpieces. Over the course of our adventure, you'll be exploring 30 mesmerizing nordic scenes. Together, we'll journey through step by step from the initial sketch and thoughtful composition to the artful dance of light and shadow, culminating in those delicate, final details that make your painting truly come alive. With each lesson, you'll discover techniques that empower you to turn a simple photograph into a living, breathing work of art that reflects your unique, creative spirit. In this course, you'll be learning a variety of techniques. I'll be talking about wet and wet techniques. We'll also go through wet and dry techniques. We'll talk about light and shadow, how to paint and imply very realistic shadows. We're also going to talk about painting different elements. So painting nature, painting leaves, trees, painting buildings, as well as people, making every scene vibrant and relatable. Later on, we will be going through the hands on demonstrations where I'll guide you through all 30 step by step projects. Each of these designed to build your skills and boost your confidence. You experience my creative process in real time, gaining insights that will take you through any scene with ease and precision. Each lesson is a stepping stone towards unlocking your full artistic potential, whether you're a seasoned artist or just starting out. This course is packed with tools, techniques, and inspiration to help you create awe inspiring nordic landscapes that resonate with life and emotion. So are you ready to unleash your in artist and dive into the captivating world of watercolors? Let's embark on this creative adventure together. I can't wait to see the masterpieces you create. 2. Materials Required: All right, so I want to talk about the materials that I'm going to be using in this course, and it's going to help you to decide, especially if you're out there buying some materials, thinking of what kind of paper and stuff to get, I'm going to go through that right now with you. So as you can see, there are a bunch of paintings here on the left that I've taken out from this course. And essentially, you've got this paper here, which you can see has a bit of a texture to it, okay? Now, the difference between textured paper or basically cold press or rough paper, and paper like this, which is hot press or paper that's basically smooth, is that you just get a much more sharper contrast if you're using hot press paper, whereas with this kind of textured paper with, you know, coal press or rough sort of texture, you get a lot more blending, get more granulation, where the paint separates out into different colors. You can see here even in the landscape area where the grass is, you know, there are some patchy sort of areas that makes it actually look more realistic. And if you're painting wet into wet like these mountains in the background, I find this paper to really be superior to hot press paper. Now, you're not going to be able to get as, you know, sharp contrasts and of course, with hot press paper, another thing to mention is that it does produce much more vibrant colors at the end. Okay? You're not going to get as much of that, but in turn, you're going to be able to get these beautiful soft gradations, which are perfect for a lot of these landscapes. I find that once you get a bit better with watercolors, the hot press paper is great. But if you've only got this stuff, you know, just use it anyway. But, you know, keep in mind that it is going to be difficult at times to get an even wash in the sky. Sometimes you get blotchy bits as the paint will pull in certain areas rather than disperse around. So there are a few others. I'm just trying to see if I can find one. There we go. So this is a cold press piece of paper, so cold press is somewhere in the middle of hot press and rough here on the right. So I'd recommend this if you're probably getting started rather than the rough paper, but rough is still pretty good. That's my favorite sort of paper to use at the moment. So let's put that away. And do keep in mind, of course, that, you know, this is all 100% cotton paper. If you don't have cotton paper where you are, that's no big deal. As well, just use some cellulose. So I've got some cellulose paper, which often comes as, you know, it doesn't say essentially on they will say something like, eh, go cellulose, 100%, okay? That's your next best bet. It's fairly affordable. Fairly affordable, as well, but it does dry quickly, and the paint lifts off as well if you're not careful with two different washers. Now, this is another sketchbook that I have. Only 160 GSM. This is going to do you okay as well, but, you know, just keep in mind if you don't have 100% cotton paper, you're not going to be able to well it's going to be harder anyway to get in a lot of these effects. As you become more skilled as an artist, using other types of quick kind of materials tends to be easier. But, you know, keep in mind. At the end of the day, the practice is more important. So make sure you make a start no matter what sort of materials that you have. And, you know, sometimes I even use these sketchbooks which have cotton watercolor paper in there. And, you know, this makes it easy for me to kind of carry around, bring the you know, bring my brushes and things with me. So practice different compositions. A lot of them don't work out, but it doesn't matter. You know, it's all a bit of fun and all a bit of practice. So that's all I want to talk about in terms of paper. Now, when we move over into the palette here, you can see, there's a whole bunch of colors on my palette. You're not going to need all of these colors now. For a starter, all you need is basically a blue, preferably a dark blue like ultramarine blue here. You've also got a yellow. So a hansa yellow is good and some type of red. So I've got a permanent red here. Okay? If you've got those three colors, you can pretty much paint almost anything in this scene, okay? If you mix your red and maybe a bit of blue together, as well, you do get kind of like a purply, nice purple mix that you can use as a shadow color, okay. And yeah, essentially, there are a few other colors that I use, and I'll go through them. So this is Indian yellow, creates some more kind of sunset golden type of look here. This is yellow ochre. Creates a very kind of subdued yellow, pyl orange, and this is a granulating orange in their Cronacodon orange. Not really necessary. I have that because it's just yeah, my preference. I like using granulating colors, permanent or red or pyral red that I have here. This is cerulean blue, and I really recommend getting some cerulean blue, as well. They're just fantastic for painting skies. These ones here basically bit of lilac and teal. Again, not necessary. I don't use them really in this course. Up here, I've got a couple of browns. So I've got a bit of burnt sienna and also a bit of burnt umber up the top there. So two browns, one light, one darker. And the lighter brown has a kind of, you know, the burnt sienna just has a bit of reddish tint to it, which makes it a really good color to use for buildings, you know, the rooftops, especially. And I do have a green here. This is called undersea green. It's basically just a dark green. If you've got any kind of dark green, that's fine. You can always mix up your own green as well. You've got your blue and your yellow, mix that up to different proportions, and you can get lighter or darker sort of greens. Here on the left, I've got a few other kind of colors that, again, are just, you know, you know, convenience colors. So I got purple here, three different purples, because I really like that color. And I've got some Panes gray here. So Pains gray is just a convenience color again. If you mix your three primaries together, blue, yellow and red, you're going to be able to mix up a nice gray color anyway. Another thing you can do is mix ultramarine blue with a bit of a darker brown color, and that will also create a nice gray. And depending on the proportions that you use as well, you can get a more cooler gray or a warmer gray. So yeah, the palette that I'm using as well, as you can see, it's quite large, and I do recommend using a larger palette. This gives you much more space to mix up. Your colours, actually see what you're mixing, and then you can mix up a larger proportion so you don't have to keep going back and trying to get that same mix again. Really important. So but again, if you've only got a smaller palette, that's fine, as well. I use them all the time. But for beginners, I find, you know, this is just fantastic. So moving on to some of my brushes. And, boy, there's a lot of brushes in here, and you're not going to need all of these brushes, but I'm going to go through what I use most of them for. So over here, I've got a couple of mop brushes, watercolor mop brushes. Now, these are so important because they have a large belly, they hold a ton of paint. So you're going to need this when you're painting kind of sky washers, for example, you know, this painting here, just these clouds and the mountains in the background. Really important because you don't have to keep going back and refilling. This is like your quincential sort of brush, okay? If you can only have one brush, you know, a couple of these, you know, one or two of these all that you need really to sort of get a basic indication of what you want, okay? So really important. These are some synthetic brushes, and as you can see, they're basically all flat brushes. This is a filbt brush, which is a brush that's used for scrubbing, okay? So at the end of a painting, sometimes I'll scrub away paint. Lift off with the tissue and basically get in the previous wash or remove that first wash of paint. Sometimes you want to do that to create some sort of misty effects or reveal the background color, okay? But yeah, these flat brushes are really good because they allow me to sort of paint buildings quite easily, sometimes large shadows across the ground. Usually, if we're looking at man made objects like rooftops and things, these are pretty easy to use to sort of imply them, okay? So I always keep some nice flat brushes with me. Okay, coming up next, I have these interesting brushes here. And basically, these are just rigger brushes. Okay, you don't need these particular ones I have. This is just provided to me by a company. And essentially their rigor brush, they're rigger brushes, which have a really fine point, allowing you to detail, get in nice little branches. And but except these have a large reservoir at the bottom. So it just means I don't have to keep having to go back. I've got four of them, but you only need one, really, if any, if any. Now, here to the bottom, I've got a bunch of round brushes, and round brushes are essential for detailing, painting in larger shapes, getting in a bit more control. And it's kind of like, you know, I often swap between my mop brushes and the round brushes. The mop brushes get in large areas, and I can cut around using the tips. But there's a point where, you know, that tip is just not going to cut it anymore, and there's too much paint in the belly, which can cause a bit of mess on the paper sometimes. That's when you go for these round brushes, detailing, so painting some people, painting a rooftop, a small rooftop, painting a door, you know, some grass, you know, some bushes, things like that. These are going to be great for that. So always have that. If you can only have two brushes, you know, have a couple of round brushes and one mop brush. That'll do you fine for the entire course. This is a little a special brush that I have. It's called a fan brush, and, you know, as you can see, it kind of looks like a fan, and essentially, this is a brush I use to pick up some, you know, bits of paint and imply, like, grass, you know, lots of little strands of grass running in the same direction. Just says me times I don't have to keep on, you know, pick up a smaller brush like this and drawing each individual blade of grass. So that's it for the brushes, and, you know, you'll notice that I've got a cloth here as well. The cloth is used to control how much water is on your brush. So sometimes you'll pick up too much water or you want to dry brush, you know, pick up the paint and dry the brush off, and then use that to drag across the surface of the paper. The towel is really important. Just use an old tea towel. If you've got disposable towels, that's going to be fine, as well. And, of course, a little container of water. 3. Watercolour Techniques: This video, I'm going to be showing you two watercolor techniques, and this is all you need essentially with watercolors, wet in wet and wet on dry. So essentially with wet on dry, and I don't even need to use pencil here to demonstrate to sort of drawing the borders. But wet on dry is as it really sounds. So we've got some dry paper here. Let's say I pick up a bit of green or whatever I have here on the page. So we've got some we've got a brush. The brush is wet. And when you apply the paint to the paper, check that out. You have sharp defined edges, okay? Sharp defined edges. So the paint doesn't move around. You know, you can get in quite a lot of detail. Without paint moving over into different areas, okay? So as you can see, this is just a very loose branch or tree or something that I'm painting in here. Of course, you can go over parts again. This now becomes wet and wet when you start going over other parts like that. Okay. Now, let's try wet in wet. So I'm going to mix up a bit of paint here, just a bit of it doesn't really matter. A sort of paint that I have on the pages could just be some green to get rid of the tint the white of the paper, just to show you where I've gone over. So there's a bit of green here. Now, this bit of paper is now wet. So if I pick up a bit of green or whatever, paint here on the side, and I drop that in, Okay, look what happens. The paint spreads, and you know, it's not as defined as that tree here to the right. Okay? So there's a lot of uncontrolled sort of effects. I mean, you still get the basic gist of what you're painting, but it's more abstract. So this technique is more for things like mountains. So if you're doing some mountains, for example, you know, you might start off with some blue like this. You just get a bit of blue for the sky and carry this down. And then I might go back and pick up some darker blue, maybe a bit of brown mixed in there, okay? And then what we can do is just drop this straight in here. And then you have some kind of mountain there in the distance, not the best mountain, but, you know, you get the idea. So the edges are kind of softer and also depends on whether you want, you know, a more defined mountain. If you do, you can sort of, you know, do without the wait until the paints dried in the background. And you can see here you get more of this sharper sort of effect. Okay. Now, there's another thing that you can also do. You can do something called dry brushing. This is basically a wet on dry technique. So you're picking up a lot of paint here on the palette. Alright, picking up some of this pale. I'm drying off the brush on a bit of towel, and now I'm going to just drag the brush over the surface of the paper. And can you see because the brush is kind of dry, you get these kind of broken lines, broken edges. You know, you can sort of do it just picking up your dry paint there. Okay? So it's not like a nice, even full bodied brush stroke like that. It's just these sort of sporadic kind of lines. And these are good for, you know, putting in indications of maybe some branches that are coming off the side or something like that, you know, up here, for example, through the side. Anything that you don't want to look too obvious, okay? You can also pick up some really dark paint and just sort of put in some trees running through like that. So then it doesn't look, again, too obvious. Um, you know, I even use this technique on buildings. You can sort of put in, like, little windows of the buildings, just touch like that as well, okay? And this just keeps it pretty, you know, pretty low key so you don't have a big old mark in the center of your scene. So yeah, just a more subtle sort of brushstrokes. Now, let's go a little bit deeper into this wet and wet technique, okay? 'cause this is the start. But with wet and wet, you will need to practice this a little bit, okay? Because, essentially, with wet and wet, there are different times that you want to go in in the second wash depending on what you want to do. Okay? So first, I'm going to just wet all these areas, okay? Just go to wet these four areas with copious amounts of water, okay? And you kind of got to look at the paper from an angle to see where you've gone with the water sometimes. Okay? So those are the four panels. Okay. Now, you can already see the paper is slowly starting to dry in areas. But we can go into this first one. Let's say I pick up a bit of again, just a bit of leftover paint here on the palette, drop that in, and, you know, this can be some clouds maybe up the top. See how they sort of just move around and you can create this really sporadic sort of shapes, abstract shapes. They blend. You know, I can mix in some green here down at the base. You know, this could be some uh, I don't know, it could be a sunset or something like that. I don't know. But the good thing is that you can see it. All just blend nicely with each other, okay? But you're not really gonna get any defined shapes. Now, while I've been doing this, the second panel has started to dry a little bit, okay? I won't go into it just yet. But the point I'm trying to highlight here is that the longer you wait, the more defined these brushstrokes start to become, okay? And normally, I'll give it a little bit of time to sort of the water to go into the paper, and you can see from the angle here the sheen of the paper, okay? And this paper is not drying so evenly, so it's difficult to do this. But let's say I pick up another paint now, another sort of darker paint here on the side. Let's go through here. We're still getting that similar effect, but that's more so at the base because there's more water polled at the base. Now, if we go up to the top, now you can see these lines, they still spread. They still spread, but you're not getting that kind of effect there where it's just completely just turns into into this kind of blended mess. Okay. So get a bit more detail, as you can see, a little bit more detail. So why is this important? Because you might want to go in at this point to get some background trees in. So you want to wait a little bit till that sheen slowly starts to dry off and not going straight away. Otherwise, all these branches that you're painting in are going to go everywhere, and it's just going to cause a complete mess. Now, we can do the same with these other two panels, okay? And again, the water is pooling in areas, which makes it a little bit tricky to do this. In fact, the panel there to the left, funny enough, is actually more dry. So I might leave that for the last panel to do. So this can be the sort of second last panel. So we go in here, and again, you are getting sharper sort of shapes, okay? And parts, actually, the paper has already dried. So you're getting much more sharper shapes on the right hand side there. Here. I'm not even sure what color this is. Okay? But you're going to need to experiment around with this a fair bit, okay? That way, you're going to have a better idea of how the paper you're using reacts and the timing to make sure you go in at the right time. Now, this last sort of panel here, let's go ahead and do this one. Check this out. It's almost dried, except on the right hand side. So you can see this is creating some very funny, well, funny, but sharp shapes. The right hand side hasn't quite dried, so I don't need to do much with that. Okay. Even in the flat brush, you can see, it's that same dryness on the page. So yeah, but you still get a little bit of furry edges, so you can create some more kind of abstract looking shapes, but still, you know, keep the overall integrity of the thing you're trying to paint. So it really just depends on what you're painting. If you're painting clouds, backgrounds, wet into wet is fantastic, okay? If you're painting sharper shapes that you want to preserve, okay, and make it really stick out with more contrast, and you don't want the edges to disappear and just blend into the water. You want to wait for a bit longer like this. And some people ask, why don't you just wait for the paper to completely dry? Well, the reason why I don't do that is because you can get some of the most amazing effects wet into wet that only you can do in watercolor. So it's a stressful technique, I think, sometimes for beginners, but it's the one for me that's paid off the most. So practice this four panel exercise that we've done here, try different things. You could try, like, a mountain in each one, the same thing, just to get the hang of how your paper reacts to paint in water, okay? Another thing, when you're dropping paint in to an area of wetness already, you want to avoid putting too much water in there. Now, let's just show you here. So if I put in some water, too much water, look what can happen. You're going to get these blooms, these sort of bloom effects. Okay. Unless you're looking for that effect, okay? It's not a good idea. You want to make sure the paint that you're picking up is thicker, and has less water. That way, as you can see, it does not disrupt the previous wash. Whereas these ones, you can see, it's creating some interesting kind of bloom effects. 4. Stockholm Sketch Practice: Is a nice little scene, a nice little street scene we can practice with. And let's practice getting in some buildings, maybe a car or two, some people, and, of course, this sort of light and shadow sort of patterns. So coming in from the top of the scene, we've got some buildings like this. I'm going to just draw this silhouette of the building. And here you've kind of got the edge of the building showing through, but most of it's just yeah, most of it's kind of just concealed, okay? Coming down here, then you've got basically the footpath that runs like this. And then you've got the car. Again, in the car, you want to just draw in the top of a car first, the windscreen I like to draw in. Then I like to maybe get in some of the lights just quickly, the bonnet, and then the base of the car here. Now, underneath the car, there's going to be a couple of wheels there. So you just want to mark out the wheels to the side and then draw a little shadow underneath. Sort of color that shadow in underneath the car, okay? There's also these mirrors. Maybe you can pop those in like that. Uh Yep. Okay. So now we've got, you know, a basic sort of car here. Now, what else do we want to do? I think we want to put in a person. Let's put in a figure here in front. Maybe just walking into the scene just quickly first. And, you know, again, the head, I always like to get that head of the person in first. That way we can draw the body in. The body is kind of like a like an oblong shape or, I guess, a rectangular shape at times. All right. And one thing I've noticed is that the shadow pattern, you can see is coming in from here. Oops whereas it's here, maybe here, might change it just so that it sort of leaves a bit of the car exposed to light. And then it comes off onto this building here in the background. Let's draw some of these buildings in first. So we've got this kind of larger well, building in the back, and then there's another building in front of it. I can't see too much of it, but it doesn't matter. Something like that. That's another building there in the background with shadows across it. Then you've got this large building here. I think this is actually a church, and that's put in. Now, because this is a sketch, I don't want to spend all day doing this. But yeah, you've got these domes here. Okay. I'm separating out these little features within the dome. You know, these tiny little For example, the side of this dome is kind of like a you can see the walls of it. It's almost like a hexagonal shape, okay? Can't see too much of it anyway. And this part it's almost like a rectangular like shape, and then there's another dome like shape on top. Okay? The only way you can get better at drawing these things is to just practice. There. The rest of this, I mean, it's pretty complicated, but the roof comes off like that goes up and then flat, a few more lines. There's another sort of roof or whatever here. Quite difficult to actually see. The proper structure of it. I'm not fuss. Here, you've got just a door window like that. Alright? To me, I don't really care. Okay, you've got the general shape of that in, there's some kind of windows, portholes or whatever here. And then you've got this amazing beautiful shadow pattern that just runs across the building. Okay, we're gonna have to decide what to do with this shadow, as well, but I do think I want to leave, I want to leave a good amount of it in just to sort of come off on this angle to cut over the car. So I have a bit bit of the light still on the car. Okay? These buildings to the left, there's actually so many little details in there. You can spend all day drawing all these in if you want to. But I find the easiest way is when you got this sort of shadowy building like this, work with these perspective lines, these sort of see where the windows sort of follow a certain pattern running downwards. Just draw those windows in real basically like that, okay? And we should have a nice little scene here to work with. So I reckon what I'm going to do first is get in some color for the buildings, a little bit of color, especially for this one here, I'm going to pick up red, just as red as I can get it, really. Okay. And probably 50% red. The rest of it is just water. And I'm going to paint this building, right? Now, the top of it isn't red, just the edges. And then you've got a bit kind of running across here, you know, bit coming across there and underneath as well here. Alright. This is yeah, like I said, I'm pretty sure this is a church, and we can cut around. Actually, this door will get that in a bit darker afterwards, anyway. But carry this down all the way around the figure. I'm going to cut around the figure, and I'm going to stop here. Okay, go to stop there. Now, this is going to do its thing. I'm going to just we want to put in real light colors here now. In the background, this is just a bit of burnt sienna for the rooftop of this one building back there. It's kind of like a brownish red color. And here, there is some type of grayish building. The rooftops grayish anyway, so I'm just dropping a bit of gray in there. I'm always finding ways to get this stuff to join on to each other, okay, so that it's not just one, you know, gigantic losses of red. I kind of just shifts through the rest of the scene. Um, a bit of yellowy value down below like this, just for the base of those buildings. Okay, good. And these buildings here to the left, I'm going to just pop in again a little bit of yellowy color. Just a warm color is fine. Okay. This is a bit of Indian yellow. I'm just going to drop that in so that there's some warmth in there. This car is actually white cotely white, but I can pop in a bit of blue a little bit of cerulean on it, just to make it a little bit cooler because we've got all the warm colors, all these warm colors running through here. Now, moving down to the base, I'm going to pick up some gray, whatever gray I have left on the palettes basically just all the colors mixed together. That should create me a really basic gray color. And it needs to be pretty watered down, as well. So it's almost Yeah, it's almost the white of the paper. Just to get rid of a bit of that color. Okay, let's move this down. Okay, good. Now, working our way up to the top of this building, you're gonna have to play around with some of this stuff. I've got a bit of brown here. Let's just drop in some of this brown for this area of the roof of this tower. So there's something here, see? So a little bit of that there. What else do we have? I mean, the rest of it is just not much. I don't have to do too much, really. Maybe a little shadow here and there, and some line work running through the building. You know, I'm going to put in a bit of wet and wet work here, just dropping in for this window here. Alright. I'm gonna probably just leave the rest of that white, actually. Maybe not. Maybe not. Let's put in a touch of gray in here. Looks too stark to leave just white. Okay. Great. So this is all going to dry off. And while that happens, we're going to put in the sky, good old skywah and I'm going to use some I'm going to be using some blue, but actually one thing I've forgotten to do is maybe to get in these flags. You get a flag running here. This is the Danish, it's the Danish flag. You just get a bit of that coming in there, then you've kind of got the cross running through the center and then you got the European Union flag in the back. You just make out the stars. Okay. Running through the back there like that. I almost forgot about that. Got so close. But good thing to remember. Yeah. So let's firstly, I'm gonna get in some of that red. Let's just go ahead and color this in. Just got some red here. Really dark. Lots of lots of color in there. Yep. So neutral tint or some gray for the top of the flag because over here it's kind of darker. I'm just going to let this melt in. I don't want to I don't want to bother too much with the details of the flag, okay? Just enough. You know, there's actually kind of a grayish color to the top part of the flag here. Like, it just comes down a little bit like that. But further on, we've got the European Union flag. I'm going to grab the blue ultramarine blue, and I'm just going to Again, really basically add that in. The stars are a yellowish color, which I'm going to need to maybe add in later. It's not a big deal. Let's try some of this. I've got a bit of yellow leftover on the palette. See if I can just drop in a bit of that to indicate that. There Okay. I might just rub off a bit of this red there. Okay. Now, the background, what we were doing initially, I'm going to pick up some of this blue, bit of cerulean blue. And I'm going to just drop that straight into the sky, cutting around the flag, details there. Oops, some of that's already gone in. That's right. We can lift off, lift off a bit of paint there, continue on. Um, you might have to reshape some of those flags a bit later. If you leave a bit of white around the flags, it won't run like that. Okay? Let's just keep on going. Okay? You can see sort of goes all the way around the base here of the buildings and bring all that blue to the right hand side. There we have it. So we've got a nice, you know, wash there for the sky, which is what we want. Can also use a tissue to lift off certain areas as well for clouds. Okay? Or just in areas that you think has a bit too much paint, if you want to encourage it to dry faster. Okay? Fantastic. So we've got all the lights in. What we have to do now is get all the dark values in. And I'm going to pick up just a basic wash of purple and brown mixed together. Okay, got like a purplish brown to create this kind of gray. You can also use ultramarine plus burnt tumber to create this general looking shadow. And we're going to go in. Let's just do this so that, you know, the shadow. Okay. There's also a bit here. Leave in that little slither of light on that building, bits and pieces here and there, a little bit of that light there, as you can see. For the rest of it, I'm just going to go through all the way like that. I want to get this a bit darker, as well. Actually, more blue and more brown mixed together to just give it more volume, more darkness. And of course, you know, here you've got the building and the shadow running across the ground here and going on top of this car, maybe, like, here, leaving maybe a bit of it. Yep. And this all comes across. That can be the bottom of the car and the Yep, there. Goes all across here, you know, you can see also on the buildings, there are some shadows. So we can sort of put in a bit of those kind of shadow pattern on those buildings like that. But here is the larger sort of shadow on this red building. So I'm going to go and just trying to get in a few of those marks mimic those marks that you see in the reference photo running across like this. Running across the building, you've got a darker one here as well. Really needs to be quite dark. I'm picking up as much darker paint as I can for this. And you can see here, it sort of just forms a really sharp, dark shape the right side of the building, and then just abruptly finishes here. Great. But yeah, you can see I've just kind of gotten in this entire shadow with one swoop, really. And you can drop in some little things like these, you know, darker bits for the windows, perhaps, in here, that kind of thing. Maybe you can just leave that a bit later as well. Another thing I want to do is maybe get in another shadow running across here at the front, just so that I've got more of a I just want to get more of a sort of strip of light running down the center. Got the figure here so I can put in legs of the figure. Otherwise I probably leave them that color or I'll pick up like a bit of blue and drop that in here, make it look like they're wearing a shirt or something in there. Redo some of this flag, bit more red in it. Okay. I'm going to just pick up darker paint now. Really just some purple and brown maybe mixed together and start implying some of these little details on the buildings. So here, you know, these little portholes, parts of the building that just have some extra little details on them, you know, like That can even exaggerate some parts as well. Yep. This window here, just again, I'm exaggerating that a bit. And maybe putting some little details, like for the window like that. You're really just picking up the darkest bits of paint that you have and you're using that to imply details of some of these older buildings and things here in the back. Look just a few little marks like that. I can indicate some windows already pretty basic stuff on the rooftop as well of those buildings. You know, here we go, some more this sort of work on this sort of side of the building here. This building here in the foreground, we got balconies and all kinds of stuff. So just like I said, you're just implying details. I'm not wanting to spend too long in here and just enough to show that there's something there. This car as well, I kind of got to bring it out a bit more, at least get the windscreen in so that it looks darker. Okay? Doesn't even really look like a car there anymore, but you can sort of see you can sort of see a car or something like that there, this person and maybe the shadow to the right. This car should also have a bit of a shadow, maybe to the right there, but I can't really see the top of it. Another thing you do is bring it back with a touch of guash, as well. Okay. Let's put in this flag there. Really, the finishing touch here is just a little bit of guash. I thought I'll get in a bit of this perspective as well for the sidewalk here. U. A little bit of white guash. This just helps to bring back all the highlights some of the highlights anyway that you want to imply. Just having a look. We might give it a quick dryer. Okay, a little bit of white gouache to bring back some highlights. So firstly, probably on this figure, I might put in a bit here on the head of the figure and the shoulders, mainly on the left side of the figure, given that the light source is coming from the left. Uh, like that. We've got the car here as well, which is kind of lost. So I can see if I can bring a bit of it back like that, just with a bit of light there on the left side of it. It looks a little better. You know, here on this building as well, let's have a look. What else can we kind of do? Um, straighten up this little dome shape there. Okay. More white running through some of these parts of the red Yep. Get in a bit of white on the left side of this as well here just to really emphasize that light from the left side of the scene. Um, Good. The flag and Henig flag, I've lost the cross, so here I'm just bringing it back a little like that. Plus the flag pole is also white. There's this sort of bit of guash up the top there. Well, the one at the back is just make that up and put that in anyway. Okay. Some of this stuff here, this top part of the tower should I'm stick out a bit more. So I'm going to just as you can see, just brought it out a bit more with that guash. Um, some of these sometimes you can just sort of drop in a bit of guash in the buildings as well, maybe up the top to just emphasize some light. Even back in here, you can sort of play around with a bit of some little highlights, you know, that could be, you know, a street pole or something here like that. But other than that, we are finished. 5. Bergen Sketch Practice: This video, I'm going to show you how to paint light and shadows. So let's have a look at the reference photo first. Now, you can see there is this house right in the center and also some houses on the right hand side that have pretty much 100% illumination, just completely white, okay? Apart from the windows, that kind of thing. But here in the foreground, you know, you've got a lot of darkness. So I think this is a really good reference photo to show you how to paint light and dark and just illustrate this effect more sort of in a stark kind of manner. So let's first get the drawing in. Now, I know there is a building here to the left hand side. I'm just going to draw this in. There's also a balcony it looks like kind of coming off like that. Doesn't matter. Okay. Let's get in this house. Now, I'd say it's roughly, it's just a triangle like that little triangle for the rooftop, and then we're going to go down. For the purpose of this exercise, I'm not going to go for 100% accuracy here. I'm just going to try to put in what I can to illustrate this concepts. So here in the front, it's pretty much just a whole bunch of darkness, okay? And you've got everything here in the front just dark. And you've got this kind of pole that is almost off off center. That's unusual. Yeah. Everything's usually so picture perfect in Norway. So there's a little kind of as you can see this pole that's sort of off center kind of looks makes it looks more interesting, actually. So there we go. And, you know, you've also got some of these like, you know, what you call them, railing areas like that. Okay? The top of the building is, you know, you've got this red sort of roof area and then some details up there as well. Okay? You've got this one window. It's just a rectangular sort of thing there. Then you've got, one, two, three, yep, three more windows. So let's just put these in. So they're just rectangles like this. Straight tangles, and then another three further down, like, here, so one, two, three. So, this entire house is pretty much in the light. And, um, well, not entirely. There's actually some shadow here to the left of it. So soft shadows on the white as well. So we'll try to get that in. We'll try to get that in as well later on. There are some kind of railing fence here as well in front. But over here in the back is where you start getting a bunch of the shadows. So you've got this chimney coming up like that. Then there's a house in the back there that you got part of it in the light outside, other part in the darkness. You've got another sort of rooftop here. Okay. Just placing these in as generic shapes. By the way, I'm not fussed about the exact details. Okay, bit of darkness there. Look at that. It's just a box. If you think about it, that's just a box with some shadows, okay? A bit of light just cast in the center of that building, and then the back of it there is colored in. And let's have a look. This is actually a really large sort of house you can see here. It's just all It's just all in darkness here. Alright. Like that. Okay. Now we can really get into the details, the nitty gritty with all this sort of stuff, but that's all we kind of need to imply. I mean, this looks like almost like a staircase or something going up. I don't know. It doesn't matter, okay? Now, running to the right hand side, this is where we got some other sort of sides of the buildings like that building there, another sort of rooftop here like that. Another chimney or something here that's kind of in the light, another chimney here. Same deal in the light, but with the right hand side kind of coloured in a bit. The light source is coming from the left side of the scene. So we really got to make sure that we have enough light running through. What else do we have? We've got this larger building here. I'm just going to draw this in kind of comes off like that. And then it just runs down. It's kind of the front side of a building. You can just see it sort of hit the base here where it's kind of all darkness, okay? So in this type of scenes, I always like to put a figure or maybe a couple of people just walking into the scene. And this is going to help, again, amplify that light, that effective light and dark, light and shadow, I mean, because then we can get in a bit a bit of the shadow of these figures as well, running maybe towards the front like that, as well. It's kind of coming in. It's a bit tricky, isn't it? Like, I might have to just simplify the shadow and make it run more so to the right rather than a, so this some bits of shadow here. Okay. Always make the shadow kind of run in the same sort of direction, see? This pole here, shadow running in that direction, and the same with the figures like that. And these buildings, you know, you're going to get some shadow here. Yep. So, let's give this a go, and the first thing I want to do is put on some of the lighter value. So the rooftop, as you can see, is kind of like this, It's really just a bit of this burnt sienna. I'm going to drop that in. It's kind of like a reddish brown color. Really light value, only 5% paint, if anything at all. Most of it is just water. All right. The building to the left has a little bit of warmth in it. I'm going to also just use that same burnt sienna so that I don't overpower everything like this, a bit of burnt sienna. Nothing too nothing too interesting there, Kate. Really, I mean, a lot of these buildings, I don't need to do much a thankfully they are all, they're all the same color. Okay? And I'm leaving out this white on the side of the building, and this is just so the shadows can really pop through afterwards. Okay. So in terms of the shadows, I'm going to go and firstly, get in little bits of little tiny bits of detail in areas. So we can start working on the shadow now, and I like to blend in these sort of little sketches like this, blend the then the details, little sharper details of the building onto the shadow. So for example, here on this side of the building, you've got some of these little marks like that. That's just running across. I mean, just some of these even go up to the top of the building, like here and down, and then running across like that, okay? Let's get this one here a little bit, something like that. Okay? You've got some of these windows as well, so I can just, again, simplify, get in some of these little windows in there. I mean, there's just a touch of darkness. Okay? It's really if you look at these windows, the darkness inside those windows are pretty much the darkest part of this painting. So I'm just trying to get in some of that detail in there. It's not a huge deal, but just enough to imply there are those windows. And of course, sometimes you can just sort of indicate the frames as well, because you tend to lose out on these details if you're not careful. So yeah, there's little frames on them as well. It's only little frames. I'm just going to paint them in. Really, I'm drawing them in with the brush, if you think about it. Here, it just adds some more darkness in there. I find it helps when I just break apart the lines a bit so that it doesn't look like it's stuck on. You notice some other areas might need to be darker as well. Okay? All right. So I'm going to start putting in this shadow. And for the shadow, I'm going to mix up ultramarine blue with some brown. Okay. Just some Burn tumba, really. So we got this here on this side, this larger sort of darker building. And it does have some bits that stick out here and there, look, no big deal, something like that. It could be a balcony or whatever, like that part there, comes down here. It's a little bit lighter as we move down. And it actually casts a little shadow here on the side of this building. You just see it. Cast that shadow. So just go over the side of that building like that or have to bring back some of those bit of the line work. Another thing I like to do as well is if you want to make some soft shadows, so you can see those sort of almost like tree bent shapes, just spray into an area like that, pick up some paint, and just sort of drop it in like this and then you can create some softer kind of shadows that may not have look right before. Okay? So that just sort of softens those out a little bit. Good. And I'm going to carry this downwards and here at the base. Again, I'm going to have to mix up more of this color. Here at the base, we've got just darkness, okay? And we've got, basically a lot of those. Um, a lot of these, like, poles and everything, but I'll just put in a little bit of the ground first. This is going to have to do just a little bit of this grayish value for the ground that they're, you know, walking through here. Right. It's easier, it looks better. Okay? And let's work on this shadow. It's just a shape. Now, I'm always looking at the reference photo and thinking, How dark is this? Is this? Does it need to be darker? Okay, this is basically the darkest section of the painting, okay? So we got to go pretty dark. You certainly got to go pretty dark in here, and also some of these little details we can get in afterwards as well. But really, it's just all across here. Moving across to the right hand side onto this building. You've got some shadowy shapes just running through like this, as well. Great. And I'm going to keep on working on this shadow here, as you can see here in the background. It's just a bit of darkness running through the back. Okay, like that. Then we've got this rooftop, which I'm going to paint in again. And this chimney, we can paint this in small little chimney. And continue on. Let's really make this shadow quite dark. There you go, just leaving some white on the page, but cutting around this building as well here. That looks okay. And then kind of some shadow in there. Picking out some little pieces of detail. And you have to just leave the white in there. You have to really have some self control and leave out some of that white. Otherwise, it's all just going to look dark in that section. Same sort of effect here. I'm just going to spray this building. That way, I can drop in some softer sort of shadow bits here for this tree or whatever. That's outside of the scene. It's kind of actually also in that side of the building like that. This whole area needs to be darkened a bit down the base. Yep. Essentially this shadow, we need to get darker than the pavement itself here, so why I'm making sure this is definitely dark enough. Um, that's looking good. That's looking good. Now, I will pick up some of this other paint on the page, just a leftover gray paint. And now we can kind of imply some of these details on, you know, here you can see, like this house has some of these markings. It's just from the and it's the same here, as well. Little kind of new little marks for the wooden flanks that run through it. Yeah. Yeah. Just a little bit of detail. That's all we're doing detailing here. Um, let's over here. That building there. The bit of that top part of this building that's kind of got that tree shadow running into it as well. Some extra darkness, I think down the base would be good here as well. I've kind of lost a bit of that. There we go. Don't be afraid to go over an area again if you feel like it's not dark enough. I certainly think this could be darker and uh I don't want to just destroy all that light, though, at the same time, being a bit careful with that. Good. And I also will grab this smaller brush, and here we can start putting in these details of the railing here, just a bit of the railing. Plus, we have this pole here that I of painted and drew in before and we can paint it in here. Okay. Really quick little indication of it. It doesn't look like much, but there we are. There's the pole. There's the pole. And, of course, this railing going to use more brown here to get this railing in. Now, there's also a tree here. You can just see it really in the darkness. You can barely make it out, but there's something here you can see, it's like a tree of some sort. So just a bit of color there will be good. Um, a touch of color now for the figures. These figures I want to make dark. Well, darker anyway, so that they sort of stand out of this light. And I'll bring out some guash, as well afterwards. But you can even leave one, just standing like this with a bit of light coming off. Again, getting those shadows all coming in in the same direction so important to do this, some more of these little details, the fence area. The Okay. And of course, you know, you might have lost out on some details, so this is a great time to do it. I've got a rigger brush that accomplishes this job much better, actually. Just bring out the rigor. And let's see. There we go. It sort of like a liner at the end of the day, lining stuff. We need to have enough water in there first. Here we go. Notice, there's some darker shadows running in there as well. So I'm trying to imply some of those. You're always just looking at the shadows and seeing how you can even within the shadows distinguish some darker ones as well. Because shadows are not just one value. They often have multiple kind of values in there. This is a little house here. Let's just put in some details there. Again, some verticals running through the back. And, of course, you know, with these houses, you've got some little architectural details that signify what's going on. But there we go. That's another house. Plus here, there's something as well, there's little details. They really do count, especially when you're subtracting so much else from this area. There's something here. I don't know what this is. It's some type of object that I'm going to put in. But can you see how we've preserved all the light coming in from the left hand side and putting real dark values right next to the white so that it will come through better. This white really will just show through stronger if we place it next to really dark values. I think these windows really just make or break this building, these sort of buildings at times they don't look like much without some of this lime work. Okay. Time to put in the sky wash. I'm just gonna pick up some cerulean blue. Let's just drop that cerulean blue straight in. It's fairly thick. And I want to get in a nice sort of wash of this blue running through the whole area. And I want to also use it to cut around the buildings, especially these ones here. So see just cut around a bit. Um, Little chimneys, as well. Little chimneys, just cut around that little chimney. This one, as well. The details like this just really make a difference in the end product. Can I just remove this bit as well? Okay. Fantastic. Let's give this a little dry. Okay, final finishing touches now. I'm going to pick up some white paint. This is white guash, and this is going to allow me to get in the final finishing touches, basically, of this scene. Just want to make sure I've got really There we go. Pick some of that up. Take a look a little bit of light up there. Maybe here. You can bring back little bits of light. You might actually squeeze up squeeze off some fresher stuff. With squash. I mean, it just if you're not careful, it just turns to gray so easily. Um. Let's do this. There we go. A little bit here. Sort of bring back bits of the detail. Um, you know, on top of the roof, a little bit of something there, maybe. And the window frames, I think some of this could be this could be good to bring some of it back like that. This little lamppost and maybe some of these bits of railing, the figures here as well, bit of the head and the shoulder there to kind of make it look more like, yep. Let's have a look. Maybe bring a bit more of that white running through here as well, and parts. Of this building that's actually sticking out more like that. I'll get that in. A great thing with gouache. You can just bring back a little bit of that light right at the very end. There's another, you know, these little windows down the bottom that I've lost out. I can just bring a bit of that back again with the guash. Light on the chimneys, edges of the roof and buildings here as well. I don't know what this is, but this could be catching also a bit of light. I'm finding every excuse to just put some guash in places to emphasize some little variations. Maybe some lines, just some little perspective lines as well. There we go. I don't know if it helps to finish it off a little bit. Soften this off a bit not too just create a bit of texture in some areas. Fantastic. And we are finished. 6. Iceland Beach Drawing: Let's go ahead with the drawing for this scene. And first thing we're going to do is put in the horizon line, which is just underneath the halfway point of the page. So roughly about here, we want to leave enough space at the bottom so that we can draw the paint the beach in. Okay, around near the wardrom paying a bit more attention to make this line straight Good. Okay, so next thing I want to do is start putting in this area that runs in around about like the middle of the page here of the water. So we've got some water coming in. I might even just increase it a bit like this, and I'm just going to drag my pencil around like this. Oops. Let me just redo this part here. I always got to remember the you've got to keep them varied enough. Otherwise, they start looking too put together, and yep, there we go. This, then you can see the water sort of retreat back here like that. There's something here, and then kind of exits out here. Now you can, of course, change this water line if you want, but I'm going to leave it this way just to try to make it more representation of this particular scene. Okay, the next thing we're going to do is we're going to put in this large this large headland at the back. And this is actually one of the most dangerous beaches in Iceland. And it looks absolutely beautiful, but there's warning signs all over the place telling you not to go near to the water. And let's go ahead and put these in. And yeah, this large mass we want to do is just get the general shape of it in first, and where does it finish? Roughly about here, yes. I'm going to mark that out. There's a few bits in the water. And the reason why this beach is actually quite dangerous is because it has these sort of waves that drag you out to the ocean, apparently, sneaker waves. So I stayed pretty far away from the water. But you see tourists often just going along and Yeah, pretty dangerous. So, look, top of this top of it, I'm just trying to get in, get in a more kind of There we go. Maybe something like that. I've gone up a little bit too high, but, it should be fine. Uh, Okay. Now, let's get in this dark sort of shadow on the left side of the rock. That and we actually zoomed quite far out of this particular scene. But over here, there's all these really interesting looking rocks. They look like these kind of columns of rock that just stretch directly upwards. And we're not going to try to put those in, but mainly just look at the darker shapes in here. So we've got this kind of darker section here. Okay. A lot of this stuff we're going to be able to just get in with the watercolors after. But I do want to try to maybe mark out some areas where I might have extra darkness so that I don't forget to add them in afterwards. Like here, that's another bit. As well, yep. There we go. Just some of these rocks on the water. On the left side of this rock, too, there's part of it that's in light, like, for example, this section here, this sort of and this is actually a cave, mind you. Here, there's like a little cave here that you can actually sit inside. But apart from that, everything else is more or less in darkness. I just quickly shade some of these in to just remind myself to leave that out, paint that in afterwards. I mean, and we've got a shadow here. These shadows are so important in watercolors. They help create this sense of light. So, just a quick little shading in here. There we have it. We've got a indication of all this light. And there's people walking all around in the front of the beach as well, so great. And now let's get in a few of these rocks here in the water. And I presume these used to be part of the larger mass over here, but over time, it's eroded away. So let's get this one in. This one's got, like, a couple of peaks. Like this. Okay? Just a little outline of it. And then we've got this one here on the right, kind of alone by itself, and we'll go up like this. Fantastic. And there we have it. We have the land masses in. We've got a bit of the rocks. We've got the water line. Now, what I want to just quickly do is mark out roughly where the blue of the water kind of well, the darker blue of the water anyway, finishes off, roughly about here maybe. Then we can just the rest of it, I can figure that out as we go. A lot of this, I think I'll be doing kind of wet into wet. Okay. Now, some figures. This is super important and some little rocks and things as well. I think this is I just really helps to bring out this sort of the depth of the scene. And I know there's lots little rocks here now. This whole beach is filled, completely filled with all these basalt rocks, and they're all over the place. So we can get that in later with the watercolors. I just want to put in some figures, and I'll make some up here because the figures in the background are just a little bit too far off. So we can put in a figure there sort of walking to the distance. That 1 ft forward, 1 ft the back. We can have another person maybe here next to this figure. You know, maybe they're just both walking into the distance. The head and this one's a bit large. I can just reduce that like this. Arms like this. We might have some people like some other people kind of walking around in the distance as you see in this scene, you know? So a little bit there, it maybe some figures here. They're not going to be playing in the water, that's for sure, but it's too dangerous, but, you know, just maybe walking around. When I was there, there was just a ton of tourists all over the place. So, you know, I actually had to go out a little bit further to get a bit of peace and quiet out where I was. So I could take a photograph there. And I'm just thinking, what else do I want to do I want to put another person closer up or not? It's always tempting to put a figure closer in the scene. And I think I might actually do this because it helps to increase this sense of depth in the scene. So I might have someone just walking here. Yeah. Walking into the front of the scene perhaps. That way I can get a bit of a shadow also running across the left us that light source is definitely coming from the right hand side. So, it's definitely coming from the right hand side. Alrighty. So that's about it for the drawing. I just put in a bit of detail for this person's arms like that. You know, if you really want, you can put in details of the clothing and, like, you know, sometimes maybe a backpack, someone holding onto a backpack, but normally, something like this is fine. 7. Iceland Beach Painting: Okay, let's go ahead and get started with this painting. And for the sky, I'm going to start off with a light wash of cerulean blue, right? I sort of a light wash of cerulean blue, and it was a very nice day. You know, I think we got lucky on that day, actually, considering that it does usually rain around August. And this is about 5% about a 5% mix of cerulean blue, and the rest of it is water. I want to make this pretty consistent across, okay? But as we move down the page, this is where I just add in some more water. And the reason I do that is just to lighten this wash, create a bit more of this lighter color down at the base. And I can also I don't mind just going over the top of those because they're going to be quite dark. Anyway, we can cover up that blue after. So if we can get a nice wash like that, that's going to be definitely a lot better. So let's see if I can just kind of brush up some of the sky a bit, just create more of a blend in this part. Creating a creating a nice gradation is quite tricky at times to get this part of the center there to blend seamlessly. Does take a bit of work, but it's definitely worth it. You can do this mostly while the paint is still wet. If you go and try to do this afterwards, it's not going to work. You have to do this at this point where everything is still nice and damp. Okay. Fantastic. Might just leave that sky as is. And we'll move down into this water here, okay? Is water. And I'm going to pick up some darker ultramarine blue, and I'm going to mix it with my cerulean blue, okay? Because it's roughly it is darker than the sky, definitely darker than the sky, but it's not too much darker, actually. But it does need to be darker than the sky. So this is why I'm going to emphasize this. Okay, now, this whole area is going to be darker. Okay. Good. Now, you'll notice some of it may blend upwards. It's not a huge deal. I can actually just feather that around a little like this. Um, as long as this water is darker, that's what I kind of want just out the back there. And also, you can skip that brush over the paper a little bit from time to time to just get a bit of the white on the paper like this. Okay? I'm going to pick up my flat brush now. This is a great little brush to help get in some waves, believe it or not, okay? But firstly, I'm going to go into this area. Okay. And just this is too dark. I'm going to lighten it a bit more like this. And keeping in mind, it will lighten up more. This is a really light wash of cerulian, really light wash of cerulean. It's almost like nothing in there. Okay. You can see it kind of come in to the shore like that. Eats a bit more of that bluish tint to it. You almost just want it to be white, okay? Then you've got that wave there in the center. That's really quite stark and white. So I'm going to leave that there for the time being. But what you can do as well is pick up more of that blue, a little bit more of that blue, and add in some see, there's some darker parts of the of this part of the water here because it's still wet. This is the best time to do it. The only time really to do it before everything dries. And funny enough, it's also the time to just play with those, get some of these waves in here as well. So I'm just going to indicate something here, okay? So waves there in the distance. All wet and wet kind of work. I'm not bothering too much with the details at all. And in the background, you know, little kind of darker spots there as well. Actually a little bit darker than the water itself. You can just drop in tiny little marks there that will eventually disappear, but create a nice soft feeling through the water. And Yep. Now, over here, you do notice underneath where the wave sort of breaks, there is a little bit of darker color. So again, just picking up that brush and trying to indicate this underneath some of these waves, you know, to see it, these sort of where it breaks. There's some touch of color, touch of darkness there. Okay? That's it. I don't think I want to touch that any further for a simple representation like that, it's looking decent. Now, for this kind of mountain. What we want to do is basically start adding in different greens, some different browns. I think I'll start off with more the greens first. Got some darker undersea green here, but I will mix that with a bit of ronacrid gold. Here. Just to make this approximate that nice goldeny green color that you see in the reference. Coming around here. It's just essentially some light in the scene. I'm going to put a bit in here as well up the top. The great about this great thing about watercolors is that you just can layer over the top of every single every single wash to create more detail. So even if it looks a bit washed out or not detailed enough or too light, it doesn't matter. All you have to do is just simply leave it and go over it again in a second round. I'm just lightening this area a bit more so that it matches the right hand side better. I just made it a bit too dark before. That Good. Yeah, it's just these sort of greenish parts that you see, I guess, on the rock, but I'm also just emphasizing more of that light. The flat brush is just fantastic for rocks. Abstract shapes like this, but still be able to get in a nice sharp marks on the scene. This side of the scene, it's probably more kind of favorable if I just went in with some darker color. So I've got some brown here. This is just a bit of burnt tumber. Let's drop that in and see how that looks. Maybe with some burnt sienna, as well. A lot of this stuff has not quite dried yet, but we can create maybe a nice softer edge on some parts and sharper parts in other areas. So yeah, leaving a bit of white there. If you can see here just how I've got some little white sections, that kind of stops the wet paint sometimes from running into the other sections. Okay. Just checking what we've got here. Yep, this should just kind of come down like around there, maybe. Yep. Here cut around this bit of light the bottom part. You kind of only got one chance to do this before it dries off. But Okay. And if it's not dark enough, feel free to pick up a bit of neutral tint in some parts like this to really get in that darkness through here. This area should actually have some lighter kind of grayish color for this rock, so I'll just put some of that in quickly and also in here we've got a lot of greenish sort of colors, but not much of this sort of grayish value which we will have to work on more. This area right in here is pretty dark and not only that has a sort of cave area in there, which we'll have to get in afterwards. Yep, so let's just cut around some more. Okay. Now, I'm going to dry off this brush a little bit, and I'll pick up some of that pains gray, mix that in as well. Yeah. I'm gonna go in this top section and put in some of this sort of rocky detailing, okay, up the top. And among this sort of rocky area here as well, just trying to keep just making sure that this is also Yeah. Yeah. Nice and sharp at the edges. Okay? This is the way sometimes you just really got to go in there and just add in a brush stroke like that. When you fiddle around with the colors and everything too much, it just starts looking overworked. You know, this area here, I'm going to just drop in some darker values a bit here for this darker part of the rock. Okay, like that. I think what I can do is also put in a bit of green, darker green as well for this part of the rock here. Dilute that down a bit, another quick little wash into some parts. I think it just looks a bit too have too much light in there for the time being. So at the moment, so I just want to oil it down a bit. And then, of course, some more of this gray there. Okay. And like I said, keep in mind, we still can go back in there and add more details afterwards, which I'm probably going to do. But I think this is a good sort of good sort of start to indicate all that complexity of detail back there. It's a tricky job. Okay. And also to kind of get the get everything in, like all these different variations of values is very tricky in just one wash. So you can only do what you can do and work on the basically work on the main shapes and the obvious stuff, and then later go back in Even back here, we can just start to, I can already see just start to work on this edge of the mountain so that it's got a bit more contrast against the sky. Needs that. This is just pains gray that I'm using for this whole section. And you can see it just sort of runs into the water where we've got, like, some rocks back there. This part is way too. It's got way too much color in it, lighting it, as well. So I'll just dull that down. Touch There's just a more darker value back there as well. I'm also using this darker value here to kind of draw out the figures here in the foreground, make them kind of come out better. Okay. Put in some of these rocks here. And, of course, we've got these ones to the right. This is going to be easy all I have to do is just color them in with the brush. You know, a bit of brown in there might also just make it look more varied. That this one as well. Okay. Now, this is all starting to dry off a little bit up the top, so I'm going to just continue to work on this now and add in more texture, more color, especially on that left side of the rock to darken it down further. So parts may be really dark compared to others as well. I put in more kind of contrast Okay 8. Iceland Beach Finishing: Right? So I'm going to leave that for a bit to dry. I'll come back to it in a moment, but I'm going to work now on the ground. Now, this is kind of a grayish color. And it's not going to be as dark as the sky. Nowhere near as dark, not the sky, but this rock here in the background. So around this sort of consistency. Always important to look at what you're painting and compare it to everything else in terms of the tone. Is it light or dark compared to the sky? Is it light or dark compared to those rocks in the background? You know, the ground is fairly light. It's like a grayish light color. So we want to make sure that that shows through. Otherwise, we're going to have a big problem in terms of getting in this illusion of light. So look at that. It's just a grayish color, which is it's still fairly dark. It's darker than the water, definitely darker than the water, but it is not nearly as dark as those rocks in the background, nowhere near as dark. So we need them to be just dark enough so you can do this kind of thing and cut around. And you see this, you're cutting around the water. Here. And that's going to create this sort of illusion of the light on the water, okay? But cutting around the water. So important to get this step right, make it dark dark enough, but not too dark. Carry this wash all the way down, running out of paint, but I think we should be able to make it. Just means I've got less to mop up, I guess. Okay. I reckon what I'll do is just add in another bit of just add in a little bit more darkness, especially here in the front, but also throughout the entire area of the water because not the water, the sand, because it's just I realize now it's just a little touch to light. So just something like that. But at the front of the scene, I always like to just create a bit more darkness here. It helps with the contrast, overall contrast of the scene. You've got rocks and things running in there as well, which we can also scratch out a little bit later. But with these rocks here in the background, I'm going to wait for this to dry a little bit. Then we're going to work on the foreground. So we can just play around with these rocks still, and especially work on contrast, just touching up bits and pieces, creating that sort of feeling of texture, which can be quite tricky in a scene like this. So sharper marks are a must for some of this stuff. These little sharper sort of marks here. I really want to create more darkness to the left hand side. It's just tricky to get my watercolors. I'll be enough to have just enough that colour. This, it's not 'cause it's not reading like I want it to just with the more the larger kind of shadow here running to the left. That looks better. That looks much better. You know, it's so important to get these values correct. 'Cause it is quite dark there on the left. Maybe some purple in there as well. Does look like it's just looming over the entire scene now, isn't it? Huge amounts of contrast. Okay, I'm going to leave that area in the back. And I want to work on some of this stuff in the foreground. I'm going to pick up just some darker paint on my brush and do this kind of thing where I just flick the paint into the ground, okay? And what this is doing is that it's just creating, like, some little impressions of rocks, 'cause I don't want to paint all this stuff. So little impressions of these rocks are what you really what you really want. It's just simplifies everything down to the point where you, um, you know, you've got an idea of what every of the whole scene, but you don't have to paint in each individual rock. I mean, you can, of course, go in and focus on a few bits and pieces here and there, tidy things up. Okay. But, um, Yep, like that. Now, the figures, all the people in here, I just want to add in some more color and detail on them. So the round brush helps for this. And I think I'll go with a bit of blue cerulean blue for this fella here. Just put the shirt there in the kind of want to darken this behind him there. Yeah, that's better. Um, yeah, just so that he stands out more. Okay. And a couple back there. Let's pick some other colors. What's going to go with this? Maybe like a bit of red, like a dull down red color. This one here doesn't look red, but that's more kind of a warmer gray, I suppose. Let's put more kind of reddish value onto this one. That's good. Um, Yep, something onto these other ones as well here in the back to bring them out. I can probably just do that afterwards, actually, once it's all all sort of dried. But, yeah, the Yeah, I'll give it a quick little dry so then I can get the shadows of the figures. We're going to put in the legs of these figures now and the shadow running to the left. So I'd like to just get them in pretty quick like this, just a couple of little marks like that on the page. Now, that should be enough like that. The legs. And we've got this one here. Well, these two here, just some quick indications of the legs. This one here. This really helps to ground these figures, make them actually look like people. The ones in the background, they're not hugely important. It's more so just to indicate depth in this scene. People standing around See, I like to just darken a little bit around the heads in the background, especially 'cause we've got those rocks sitting there in the background that really gives an excuse to do this. But it helps to bring out the details of these figures a little bit better. Yeah. Good. And now boot of shadow on the ground running to the left hand side. Let's just simplify this here, like that. Something simple. There a bit here. There there. You can spend all day doing this, but just a little something is enough really to indicate the light source. But always try to make sure the actual legs are darker than the shadow. So that's why I'm just sort of going back onto this one, especially, uh, Yep. That looks better. And of course, we have some rocks and things that we can imply shadow, so I can grab, like, a little flat brush somewhere. Start putting on some shadows on the left side of a bunch of these rocks, right? I mean, it's not like a big deal, but just some of them, you want to imply perhaps that they are also casting a shadow to the left, like that. At this point, a lot of these are just kind of abstract shapes, so there's not really that much that you need to do. Um, Yep. These little ones here in the white can help. Um, There's some larger rocks perhaps here. They're not in the scene, but I just want to put them in. There were actually a lot of larger rocks near the back side of the beach, so Yeah, we can just do that. Again, it suggests more detail, leads the viewer into the scene. I'll also put in a little bit of red for the faces some of the figures like this one here in the front bit of reddish color here as well for the heads, something quick whoops, like that. Perhaps some hair too a bit of I don't know. Just some darkness on the head I think might kind of bring out those figures better. Yep. Fantastic. Alright, a little dry off. So some finishing touches. I've got a bit of white watercolor paint here. It's just some titanium white. You can use white guash, as well. That's what I usually use, but I'm out at the moment, but a bit of white paint. And this is a bit of white watercolor paint or white gouache here. And what I'm going to do is just basically add on some final little finishing touches on this scene. I just want to really get into that proper like that. Okay. And let's start off with the head of this figure. Let's put on a bit of white there. And we've got, obviously, the light source coming from the right hand side. So here I can just sort of drag the brush down the right side of the figure and parts of the figure's clothes, you know, even the leg like that, and just indicate the light source coming from the right. Okay. This one here, again, just with the head, pick up a bit more paint. And I'm doing this sort of like dry brushing as well. So it's not all just, you know, leaving it to completely slapping on that paint. You're just making it almost as natural as not, you know, very natural as possible. Even these figures here in the background, there's some there here. Um, not only that, you might get some also. I'm just thinking, I was gonna put some in the background, but I think we should be okay. I've got a little fill bit brush here, and I'm just going to use this to try to blend some sections. I've got a tissue as well. I just want to use this to create some different kind of textures and variations, I guess, in the paint parts where I feel like it's a bit too harsh. We can just tap on like this, lift off a bit of paint to create a little little variation. But you don't want to do this with all of the paint. You just want to do it in some areas to lift off maybe create this little bit it's almost like the bit of ocean spray effect back here, you can see that a little bit of that ocean spray effect. You just rub that over. If you don't have a Philbert brush, just use any kind of brush really to just scrub away in areas and lift off. It's just a nice little finishing touch. I think that would be good for this scene. As much as some of this sharpness is great in terms of creating contrast, also, I think we need to balance it. And yeah, I do like this sort of spray effect from the water. It takes a little while. You got to rub away at it, lift off, get some more water repeat a few times before you kind of get the effect that you want. Sometimes you've even got to apply more paint. But this is kind of helping to blend the background in a bit. This rock so that it just blends a little bit more with the ground in parts anyway. It's a softening technique really. Oh, bits of maybe highlights on some of these rocks, but big deal. Okay, and we are finished. 9. Vaxholm Drawing: Alright, we're going to get started with the drawing for this one, and it's quite a complex looking scene, but we're going to simplify it down to just some main shapes. And this is an area called Bachholm in Sweden, area with lots of kind of water, part of the archipelago area, and people who own boats, the live by the water. So down here, I'm just separating out. I want to make a little line in where the houses hit the water, roughly where they hit the water. I think it's around about here, so not in the middle, but just slightly above the center part of the page. Alright, so let's start on some of these houses. And we've got some kind of grassy area here that runs roughly into not the halfway point, but just before the halfway point about here. Okay, so I know that around here, I need to start drawing in these two kind of houses, okay? And there's a triangular bit there for this house. Just a triangular kind of rooftop. Looks like this. That side of the roof coming down. There, then of course, you have this roof area of the main house just hitting the side of the scene like that. That. Okay. Good. And then you've got the base of the house here. Of course. I actually comes down more like here. An angle like that, doesn't matter. That's going to all be in darkness there. And then, of course, we've got this house here that's going to be facing the light. So we're going to get a lot of light hitting the front of this house. There's even something here, like a shade or something underneath just casting bit of a shadow there. But apart from that, don't have all too much going on in there. Okay? So yeah, I've kind of separate that out just to make sure I've got enough space. If I've kind of overshot, it doesn't quite matter as well. I just want to make sure that we've got some houses, some little bits of detail back there. The center of this scene is quite important. I'm going to just make sure I've got the rooftop of this building in. So that's like a triangular thing up there. That comes a little bit further down to around here like that. That side the house, this boat house. And it sort of sits on the water, and there's a bit of wood there and bits sort of stilts, I guess, allowing this house to sit a little bit more on the water. And we've also got this rooftop here of this other house going down further like that, again, something here in front of it. And, of course, we've got some trees, and behind the trees, we've actually got another house that's just peeking out there, which I really want to get in. It's nice looking red or orange kind of rooftop there, and simplifying this down, of course, I'm not bothered with all the detail at all, okay? A lot of this is just going to be covered by the trees like that simplified kind of house back in the distance. Okay? We get this side of this house in. There's also a shadow that just casts round about here as well. You're always kind of looking, especially when you're taking photos, to make sure you got a nice, decent light source. Otherwise, it can be difficult. So you can see, got a pretty clear light source running through that back region. Of course, we've got another tree here, more trees. And these houses, we don't need to do too much really to them. Yeah, it's kind of a lot of them are in darkness. But what we can do is emphasize some as well. So let me just get in this. There's a little rooftop I see here peeking through the trees. So I can get in just a little bit of that rooftop there. Okay. A lot of it, they're just shrubs and things. There's a boat here as well, so I can just get in indication of this boat, the front of it like that, and then sitting on the water like that. Yeah. Okay. A very simplified sort of boat, but it does the trick. And a little mass going up like that as well. And here we go. These houses a little tricky. I might work on simplifying there. Is it something behind there, maybe with a roof like that? And then also another house behind there, which is kind of going downwards as well. So that's going to be in the darkness. Um, So is this part of the rooftop of this house next to it? And maybe I'll just make this up that we've got maybe put in some of these windows. Let's try some of those windows, another kind of triangular shape for the roof of this house there, like that. Okay. Good. And I've got these trees running around in the background as well. There is actually some sort of tower here. I can just make it out. I'm not gonna bother too much with that, but something there to indicate it. Okay. Fantastic. And let's go ahead and put in this bridge. So this bridge sort of coming in from the side here like that. And, uh, going back out. It's kind of like a jetty here. That. I'd be a bit wider. Yep. Something in the water there. And we've got this boat, as well. But I think what might be easier if I just sort of work on this other part of the jetty here coming all the way out the scene, and then we'll work on this one, as well. That. That sort of runs into this sort of stilt that's in the water, the side as well of the wooden plank there. And then you've got some of these wooden stilts there that are in the water. Of course, you've got ones here as well and on the other side of this one there maybe and let me just work on this one a bit more. I've got one here, one here and one here. This will cast a shadow to the right. Same with these ones, one, two, and three, like that. Some little reflections that we'll be able to get in afterwards. Okay, now this boat is going to be tricky. The top of it is kind of transparent. You've got these sort of covers and one, two, three. Then what else do we have? One, two, three, there This sort of inner part of the boat. But it's like a D shape like this. Um, it's kind of darker in here, as well. The main part of the boat sort of circles around that. Okay, goes all the way back. Oops. We're back over there where it kind of disappears. And then we have the bottom part of the boat which sits on the water. Like that. Just trying to make sure I got the shape of it in Alright. You don't have to be perfect with this. Okay? These sort of bollards or whatever hanging off the boat. And there's little details inside here as well. But again, you don't need to fuss around too much. Alright. Just trying to get in a real basic representation of this boat. Okay. Fantastic. Something here. You know, you may even want to put in, like, I'm just thinking I'll put in another boat over here just for the sake of it. You know, keep it. Keep it more balanced because on the left hand side, you've got a boat there. Just yeah, having a third will help. Okay. Great. That's a decent sort of drawing. We can go ahead and get started on the painting now. 10. Vaxholm Painting: Okay, first things first a bit of blue, bit of cerulean. Let's get that into the sky like this. A bit of cerulean blue. Uh stick. I like to keep the top a little bit darker as well and just get it to fade down to a more lighter blue. So yeah, let's just do that. And then as you go down, I'm just going to add more water, okay? And at the same time, cutting around these rooftops because we need to get in warmer colors for a lot of these rooftops, so we don't want to go over that with all blue and muck it up. So let's go ahead and do this. But a few little brush strokes, it should be you'd be able to imply that cut around this rooftop. The rooftops and the areas of light are so important to preserve here. Because they're the actual thing that makes the houses almost look like houses. So yeah, that's a nice sort of blue looking good, okay? So let's have a think. What do we want to do? Now, I think we can actually, we can probably start putting in some of the some of the colors for the roofs. The light on the roofs and the sides of the buildings. And I'm going to keep this pretty simple, got a bit of orangy color here. There's one back there that just looks kind of quite orangy, warm, back here. So really doll down this paint and water it down, I mean, Okay. Let's see if I can just get that in. Just a quick little brush stroke like that. Not too much paint, lift off. Okay, it does sort of look a bit too reddish, but put in a bit more of that orange. That looks better. It's like a real vibrant sort of orange, isn't it? Are there any other roofs like that? It's not. So this one here, I think we could go in with a bit of burnt sienna, tiny bit of burnt sienna for this rooftop. You might notice it spread a little bit into the sky. Don't stress yourself with that. Just keep it going. Okay. And the sides of these buildings, I noticed they kind of have a milky sort of yellowish color, which I want to portray a bit more yellow in there. So just a bit of yellow with guash. Not white quash, but a little bit of yellow with titanium white. So, um, yep. So the buildings kind of this yeah, definitely have this kind of yellowish color to them. Okay. Sometimes the paint will spread if you've gone a bit quick like I have. So, you know, a little bit of dabbing around like this will help to, um, shift shift that color back. Um, yeah, just kept dropping on dropping a little bit more of that orange color back there. Okay. So more of this yellow. It's like a nacrodon cinacrodon sort of yellow color mixing in here so that I can get in a bit of lighter values and warmer values, especially for the front of these houses. I want to keep it nice and sort of bright. In this wash, basically, in this wash, we're not trying to get in any details. We're just trying to get in the general colors the general light colors, okay? So don't fuss around too much. These rooftops are definitely have, like, a brownish tinge to them, so I'm going to go in and just do it like this, okay? This other part of the house actually is, there's like some cool color in there. Okay, I just put in a bit of darkness. But really, we don't need to do much just yet. Just doing this so that it blends in better, like that. Okay. But, yeah, you can see here there's the side of the house. And, uh, the light hitting the side of the house. Ever look back over here, some more lighter values, I guess, for this rooftop and some more yellowish colors as well, perhaps with some brown. There we are. Good. And Dusti pretty much quite dark in there, so there's not much to really paint in, but that's the rooftop of the other one. I think I should just lighten off these ones a bit, as well. I've picked up put in too much paint. I want to keep it lighter. Okay. Good. And I think what I'll do is just flood the area a little bit more with some green. So let's put in some greens here for the trees and bits and pieces, but at the same time, not overdoing it. It's just to add in some color, yeah, and to make sure that we've got some soft wet and wet parts for the trees because it's going to be difficult to put some of these wet and wet trees in afterwards. So yeah, I'll just start doing it now. Okay. Using a little flat brush for this. So more here. Yep. Then this isn't the final shape of the trees and the final, I guess, color and value of the trees. I'm just trying to get in, like I said, some soft shapes in the distance. So one here as well. Over there, maybe some here. It's dangerous at times because it can just sort of blend into the houses, but we should be okay. We should be fine. The blending sometimes just looks incredible. You have to let it watercolors do its thing. There's only so much you can control. Now, I'm going to pick up a bit of green again and start going into this area here. It's kind of like a yellowish green yellowish green here for some of these, like, shrubs here in the front in front of this boat, let's see. Where does it sort of carry on to here, maybe. That around about here. I finishes off roughly about there. And then you've got these other houses. So just a little bit of that going on. Starts getting darker behind here as well. A lot darker. So just going to blend some of this darker color, darker value into this area. It's just a bit of gray that I had left over on the palette before, okay? A bit of bit more darkness back in there as well. I'm not really thinking about the shapes of everything at the moment. I'm just thinking about the general, um Yeah, I mean, I'm not thinking about the actual thinking about this as a house or whatever. You know, just thinking of it as basic shapes and thinking, what value? Is it light? Is it dark? That's what's important here. If you want to make sure you paint the thing, the paint the house, don't look at it as a house. Look at it as a combination of shapes. I might as well get in the I might as well get in some of the rooftop or something here as well, since we're here. Let's just color that in maybe a bit of blue, little bit of ultramarine blue in here, the side of this house. We've got this one as well here. Their little flat brush. Okay. I really like to kind of encourage things to blend together and for some separated spots as well. Okay? See, this house is going to be covered a bit by some shrubs and things. Okay. You know what else do we have? We've got this part here, which is also in shadow, same with the roof. Let's get that rooftop in. It is darker than the rest of the building. So I'll just have to use a bit more concentration of paint here and carry that across like this. Okay. Plus, I'm going to work on this shadow here, it runs into the side of the building. Okay. And also had a bit of color back there for the trees in the distance to help bring out the house, the rooftop of the house better. Good. I don't think that stuff's quite ready to work into yet. It's not dried yet, but here I can put in some shadow on this side of the house, and it will blend into the grassy sort of darker area underneath, which is really what I want. You know, here as well, I just want to start working on this house, okay? Don't need to do much. I think that should be okay. But darker spot behind here. So when I'm painting anything, again, I'm just looking at the photo and I'm looking at what's light, what's dark. Okay. And now we can start, I'm going to start working underneath this area here where we've got the water. I've got some darker gray here, a bit of pains gray and a bit of that ultramarine blue. And we can now start just getting in some really dark spots underneath this area. And I'd like to leave a bit of white as well from time to time that helps pretty There we are going around this boat. Here, this areas dried off mostly. So there's good it's forming like a sharp sort of line next to the shrubs. Okay? And always look at sometimes leaving in a bit of the white like I'm doing in areas, it's going to make your painting a lot more interesting. This rooftop, you know, again, just leaving the top of that roof exposed to imply the light back there. So much going on here. We can't get it all in, okay? But you can certainly cut around this boat. Okay. Now, I'm going to just use some cerulean blue in this mix to match the color of the sky here. And hopefully this area hasn't completely dried yet, it hasn't. I accidentally dropped some water in some part maybe here, just mop that up here, okay? It's kind of a warm day today, so it's, you know, you see, like, a bit of a line here where it shouldn't have formed. You really got to keep track of what you're painting half the time, what day you're painting on, and what the temperature is because then you might have to adjust how fast you paint, as well. Okay. So that's where the bridge is. Now, I'm going to keep this kind of wet in this area by adding in some more water because very quickly, I want to make sure that this area of the of this walkway has some color in it, okay? It's kind of like a grayish warm color, I think. Let me see if I can get it mix myself up with gray while I've got a bit of Pain's gray which is gonna be fine anyway. It's like a grayish brown sort of color, I suppose. Doesn't matter all too much, but just some neutral color, maybe even, like, a warmer neutral color is going to be good here. Got a few too many colors on this one, but yeah, it's going to dull down once it dries. Really light wash of paint, okay? Just so that it, you know, gets rid of the white of the paper. Not too dark at all. Okay. Okay. What else do we have? Fantastic. And let's continue on with this wash. I've kept it alive with that water on the end there. And I'm going to continue on just with my cerulean blue as I move down the page. I kind of got to be careful here because, again, this bridge area is still wet. If some mixing is okay, but, like that maybe. Let's have a look on the other side. The trick sometimes to stop it from mixing is just to leave a little white space in between in some areas. But it's not a big deal if it does mix a little. Okay. Around this boat. Okay. And I'm using mostly the same concentration of this cerulean blue, and we're going to change it up. We're going to actually add in some other colors in here over the top. But that's why I sort of start with this base layer so at least we've got the lighter parts of the water in. And then we can start feathering in some darker blues. So let's go ahead and actually do that now. Now, I know that there are actually some little reflections here in the water from the little shrubs above. So I'm going to just put a bit of that in at least over there. You know, here there is a bit of a reflection for this house, like a bit of this warmer sort of reflection running down like that. We can probably get that in again afterwards, but, um, yeah, it might actually be better to do that right at the end. But for everything else, I'm just going to use a bit of Pain's gray mixed with ultramarine blue. And we're going to go and we're going to go a bit mad here. We're just going to go and drop in paint. Right at the back, it's pretty dark anyhow, which is fine. Okay, in some areas, it's going to create more contrast, that's for sure. Once it spreads out, it hopefully will just look a bit better. But I know this area is quite dark here, so we want to definitely imply this more running through this sort of spot, here, here, too much mixing, you just dab off the paper like that. You should be okay. Wet and wet painting changes the game. It changed the game for me because it allowed me to start painting very quickly and having that sort of fluid fluidity in my paintings, softness in my paintings that I always wanted to get in watercolors. You know, you have to there's no other way around it. And you have to deal with the fact that everything's just sometimes ends up ridiculously messy. But at the same time, you can get the most beautiful effects that you basically can't paint any other way. Something funny is going on here. I'm just gonna I'm just going to even out this area. That's not ideal, but, yeah, it happens sometimes when you have paint different concentrations of paint mixing together. Right. So what else do we have to do here? On the boat, we can paint in some things like we've got, for example, this area here, which is the same color as the water behind it 'cause it is transparent, yep. But it's still lighter at the same time than the water, a little bit lighter. There. Okay? We're just putting in the basically the darker spots in the boat because the boat is all white, as you can see. So we're just trying to get in a nice indication of these shadows running through inside the boat, potentially like that. The right hand side of it as well, here. Yep. Yep. Okay, that's looking good. Let's give this a little dry. But actually, before we do that, I do want to put in some darker paint here down below. This should be a lot darker. Um, underneath here, here, especially, we need to do this while the paper is still wet. It's just going to make things gonna make life a lot easier if we do it like this. And notice how I've left in some of the previous wash, as well. Really important to do that so that you get some lighter blue still preserved in this mix because it's if you look at it, there's not really that much of it left. So keep we've got to preserve some bit. So let's dry this off. 11. Vaxholm Finishing: Oh, righty. So let's carry on with this next part of the painting. And what I want to do is start putting on all the darker details in this scene. So I've already got some pains gray here that I've mixed up. Well, it's pre mixed, so it doesn't really count, but it is pre mixed gray, and we can do stuff like we can start darkening areas that we think need extra darkening. Like here on the side of this building, I'm going to just start detailing a bit. This here, there is some kind of I don't know, house or another house behind there that's just showing through, just peeking through, so a bit of that. So windows, perhaps, you know, just a few little brush strokes like that, and also down the side of the building here. Quick little, you know, bits and pieces. There's also this darker sort of tree or whatever here in the distance, it's going to help bring out that house. And I'm going to add in some green here so that it's just looks like a tree behind, exaggerating this a bit more than in the reference. So I'm just trying to just trying to bring out some of the rooftops and the details of this house. So that one here as well. Look, I'm just putting in a little more of a darker tree behind, even though it's not really there in the scene. Okay? Okay, coming down here, trying to feather it out as I go down as well, just to create this sense of the grass you see here, it's quite wispy tops of the grass. I just have to end it like this here, but still dark in some areas behind. A bit more green over here as well. For this tree behind this roof here. Of course, we've got distant trees. They look like distant trees because I painted them wet into wet before. But, you know, I do need to make sure some of these help to shape the houses in front of them, okay, bring the houses kind of out of that darkness, creating more contrast. But also making sure I'm leaving out leaving out a bit of light, too. You don't want to color in everything the same color. It's it's tricky this part of the scene. It's quite tricky. You just kind of implying some details. Here, even in the water, you'll notice that there is a bit of a darker line underneath the shrubs, which I can just kind of indicate and again, start to maybe feather in this you know, with this flat brush because the bristles are all kind of square shaped and pointing in one direction. You know, you can create this sort of grassy effect there. It looks a bit more fluffier now than before. Just draw out the bank, as well, like that where it hits the water. There's actually some machinery here, maybe irrigation system, but I'm not going to put that in, okay? Boat here. Now, this is gonna be interesting. I want to make sure that there is a bit of a reflection for these boats. But I'm thinking I'm thinking to myself, do I actually want to make it you know, can I just make them perhaps one color like a darker color like this? You know, I can always change it afterwards if I'm not happy with it and make it, you know, lighter to actually mirror the white on the boats. But, yeah, I think I might just do this for now. Keep it the same color just for the sake of it 'cause yeah, we can always alter it afterwards. It reflections here. Not only that, there's reflections underneath the houses. This rooftop needs to be darkened to touch again. I'm going to go over the top of it with a bit of this darker paint like that. The sides tricky, I might just be able to imply a couple of windows or something there. Um, that might be okay for now. A bit of this rooftop here, and of course, this side as well, some little indications of the edges of the roof, darkness underneath here, as well, the side of this building, and of course, some, little windows which we can put in, maybe a door down here. A lot of this stuff, you are at times, just trying your best to indicate what is happening without actually making it too obvious. And underneath here, you've got all kinds of, you know, these sort of stilts that are holding up the house on the water like that. I'll probably have to redo some of these windows later. They look a bit light for me. Great. Now, this house here, I put in a little bit of darkness around that side. Okay. But, just trying to figure out a bit of contrast, you know, try to figure out a bit of a light pattern over this side and also use that to cut around this house. I do see a weird disjointed area here, which I'm going to just pop in some green to, uh, kind of match it up. The background here, bring out the light on the buildings. Okay, so we've kind of got two layers of trees. We've got the lighter layer, and then we've got this sort of darker layer that just goes all the way over the top. And this is what I'm using to bring out the light on the buildings, which is difficult unless you have something like this a little kind of contrast. Okay. I don't know if I do it, but yeah. Alright, let's have a look at this building. I'm probably tempted to just change some of this stuff actually here. Um, yeah, look, this roof will have to be dark that side of the building. Um, you might get a bit of light there, for example, but continuing to darken underneath this building here and, uh, create a bit more contrast only there, but also in the background here with a bit of green again in areas just to just to make it more interesting. Okay. Throw a bit of yellow. Throwing a bit of that. I've been using the same green and it's starting to show. So a touch of this yellow maybe in areas, we'll just change it up a little bit because actually, the green is a bit different. It's not that same value and color the whole way through. So just change it. Okay, so let's start working a bit on the reflections, and I'm gonna just do this all in one go, kind of here. You know, we've got some reflections running down here, of course, maybe some here. Um, some little reflections and what have you. We've got these pools as well that have a grayish grayish and Sort of value color and these bits here. Darkness there. The bridge has these little sometimes a briga brush will be better for this, like, a little thin brush that can help you get in these sort of really thin lines. Okay. There we go. That's going to make it better, a lot easier and less obvious as well. Let's do this side. Yeah. O reload the brush. That's a bit of something. Get the shadow in running to the right. Then of course, we've got this one here as well, this one here, this one here. Starts to get a bit more murky down the base and darker yet again. H. Just trying to get in some darker reflections underneath the boat that we will blend up a bit into the boat, as well. This mainly on the right hand side, like that. There we go. It's really just quite dark here at the base. There's not much else in here, but darkness running through. So let's just get this all painted in quickly. We do have these sort of bits as well underneath that kind of come out of the jetty a little reflection of the boat also here. At a reflection in the shadow, like that. Okay. I just want to darken some of these shadows. Now the other part of the boat is darker. Okay, so that's the top part. I'm just going to start painting in some little little details on the boat. Okay, remembering to leave in some of the previous details as well. You don't want to color the entire thing in as tempting as it might be. Okay. Shadow looks a bit too much at the moment. And actually, this boat is a bit smaller than the one that's in the scene, but it doesn't matter. Okay. Some more reflections running down the page. And what I'm doing is you see here on the sides of the buildings, you've kind of got areas that are darker. And so I'm just trying to mirror the reflection of those darker areas further down the page like this in areas. It's not 100% foolproof, but it does help. Like those last reflections I did were a bit kind of too squiggly in areas. I do like this reflection here of that house, that sort of white section. So we're going to have to do I reckon we'll do a few more. But the boats, I'm just going to put in a bit of bluish color, really light blue, not like that, but really, really light blue. Yep. Okay. Bit of white guash. Okay. And this white guash is what I'm going to use for this section, actually, to just put in some get bit of that white reflection back into the underneath the boats. Okay, a little bit of that. Of course, maybe parts of this area as well, um, this is kind of warmer, so bit of yellow mixed in with the white that. There we go. We've got a bit of that reflection of that house, maybe here as well there. And where it's pretty much white, I can probably put in something like this here for the reflection of that house. I actually like that. I'm going to redo this area and get this, that's better. Like this. Okay. Maybe this part of the roof as well or here. So down downward sort of marks on the page. Tell you what, it does make a huge difference. Just to create a bit of these downward brushstrokes in areas. Breaks up that, breaks up all that, that darkness in there. Okay. Well, we're almost done. I just want to basically do some finishing little finishing touches. In here. And for that, really, I'm just using that Paine's gray. Again, looking for areas that I think should have a little bit more contrast and detail. Like I'm noticing in here, for example, this area of the boat really needs to be darker, same with this side of the boat. You're using really the darkest parts of the paint. Okay? Darkest concentration of the paint. Okay. I'm gonna and get some of that in here as well these sort of parts of the windows and as well, there could be some darkness in that part. You know, it's not a huge deal. Just make sure that you've got contrast in there. Okay. I'm gonna have to re apply a bit of darkness down below as well here. Plus, I will carry down some of that light reflecting as well in a moment. But, for example, this, you know, that pooled air is going to reflect a bit of light downwards. Well, not reflect, but carry a little um reflection, I mean, so here we are because everything here in the foreground is everything is obviously closer than stuff in the background, you really need to emphasize the light more And as you see, you just sort of work on it and allow it to slowly take hold. I'm also searching for areas where they could be imbalances, like for example, here, where this blue is, you know, I feel like there should be maybe a few little waves running through there. Nair, cake. And the flat brush, again, I think I'm going to go through, pick up some white guash, and just do this downward sort of action like this here for some of this boat, really much here, but it just helps to break it up a bit. Okay. And in the background, I think I will start adding in some bits of tiny details. So small details with this lighter paint, just a bit of white paint. Actually, before I do, I've forgotten the boats actually have some Tarka bits in them here in the back. We need to do that first. So let's just do this quickly. This area of the boat there. You maybe got a bit there, I guess, as well. Um, where it grounds as well to the not grounds, but, like, where it hits the water, you kind of just as you can see, just paint a little little line underneath it like that to help ground that boat. Okay, I'm truth be told that this is not the best boat that I've painted, but it's something. I can bring it back later with a bit of squash. A lot of this stuff is just little tiny little finishing touches on already decent looking scene. I don't want to stuff up. I don't want to stuff this one up. I really like this building here. There should be some little windows here as well. Look, just a brush stroke for each window. That's all you need. It's one brushstroke. You know, even for this building here, there's a bit of darkness underneath there, but apart from that, we've just got light hitting the side of that building. The rooftops are actually a little bit lighter. So I will go through with some brownish paint. Yeah, like a bit of a bit of brown, which is basically burnt sienna. Let's just get this in quickly. However, I will leave I probably will leave that one. I like that rooftop here on the right. But I might just, for example, outline some areas of the roof like that. All right. So simplify that down. But these ones in the back, I can just paint that roof a little bit darker. Okay. This whole, like, scene, really, this part of the scene is just tidying up and adding in extra details that you might see fit. It's important to spend time doing this because this is where all the details. This is where all the kind of interest, little bits of candy sort of stick out from the background, and you make your painting actually look more detailed than it actually is. Okay? You know, here, you know, I lost a bit of detail of this darkness. I'm just bringing back the rooftops of this building, right? Now it kind of looks like there's a building in here. Out this house here as well, just by darkening behind it like that. It's quite amazing how much you can accomplish through a number of washers, where your watercolors doesn't really look like much until you've added in a few of these little brushstrokes and suddenly stand back and you've got something there. I do like to detail, but at times it's very frustrating and I think this is often enough detail for me anyway, to be satisfied with the final result. This sort of section underneath the rooftops, you see, there's actually a bit of darkness underneath this section, so I can go in and change that up and just add in a bit of that darkness in areas. Of course, this area is still sort of wet, so it doesn't work quite well. But yeah, just for quickness, I'm going to just get it done. There. That looks like a bunch of houses over there. I do like this one better. That one there has probably looks the best that house there to the far right. That one? Maybe a bit here as well. And underneath this rooftop there, you'd be surprised just how it brings back form. Makes it look like something. Touch and go really. No. This boat has completely gone, but I will bring it back with some squash. So yeah, let's dry this off for a bit. I'll bring this boat back quickly. I thought we'd lost it for a moment, but hopefully this can just recover part of it, and at least I can put in this mask that should go all the way up here. Mass there. Okay. I looks a little bit better, but, um, Yep, it looks a bit better. Still needs some darker spots in it like this top section here. There we are. It looks better. Maybe put in a mask, but this one, that's good. In the water, sometimes you find these little looks like these little bollards just floating around. I also thought this would be a good chance to just get one of these little ropes that you see tied with a see just sort of tied to the boat as it's around like that. There we go. And this helps to connect it up also with the rest of the scene. I'm looking for ways just to combine, make the scene less disjointed and make it look more kind of uh, connect, join together in a way. You have to find these little bits of sparkle and, you know, it looks like there's a reticulation. I don't know, some type of system here, which I don't want to paint in actually. I'll leave that. But, um, I'm just seeing what else can we do? Yeah, maybe on these little pools we can put a bit of light on the left like this, not to overdo it, of course. Um, oh on the boat as well here, just a bit of light on the top of it. No. White bits. Again, just the reason why I'm doing this is to it's hard to explain, but join the painting in a way. Or I see some imbalance, I'll try to fix it a bit in areas. Maybe a bit of white here on the front of the boat. Sides a little bit more on the side. Yep. And of course, we can start putting in a little bit of kind of sparkle on the sides of the just parts of the houses as well. Kind of might catch the light from place to place, okay? Just sort of balancing these sort of windows in there and giving them a bit of sparkle. I don't need to do this, but it's just something I like to do every now and then. Bit overdone there, but, probably should have used a smaller brush, but, uh, it doesn't matter. Alright, and we are finished. 12. Iceland Mountains Drawing: All right, so let's go ahead and get started with this drawing. And one thing I want to do is just make sure that I've got the edge of this mountain, tip of these mountains all the way in the back in, okay, just by sort of penciling them in like this. And also want to leave enough room on the top of the page. That's roughly about a third of the way, probably a bit more than a third of the way through the page from the top of the page, anyway. And I'm just going to go and pencil in this really rough sort of line. Now, I'm keeping this very light. You can even just really do this without, without even the drawing, it might make things easier for some of you if you don't want the pencil to show through, okay? But that's it. Essentially, I've got that sort of edge of the mountains back there. Now, this second sort of layer of the mountains here on the front, you can see, it's a little bit darker. So I want to put in a line that just runs across and roughly will indicate the location of this the mountain, and that's all. That's essentially all I'm going to do. I mean, there are some little details in there. For example, you know, there's like a tip here. That's like a little bit darker. And I'm just going to bring that down. What else do we have? There's a bit more of this sort of sharper gradients on the mountains like this, as well, which we can get in fairly easily. And these are just the kind of rocky sort of areas that are that the snow hasn't quite covered just yet. So some kind of ridge there, crack fissure or something over there. On this mountain as well, there's also a few little dark spots in here. Okay. Otherwise, it's pretty much almost the same color all the way through. It's like a darker color. Okay. Here we go. This bit here is quite It's got darker spots running through, okay? Then right at the base, this is where you have some little houses and things. And I really like this one here. It's so tiny, but I'm just going to put it in the distance. The rooftop, really important to get this in right because there's so little in there in the distance that this tiny little house is going to stick out. So I might have to actually zoom into the, I'm just going to zoom in a little bit closer to draw it in. I'm painting on a very small piece of paper. Okay, there there's also this sort of igluo kind of type thing here. It's not an igle, but it's I think it's an outdoor hot tub, might be a hot tub. I don't know. Sitting over there, okay? That's about the only thing on the right hand side of the scene. And one thing I noticed is that there's also if you look around, it's also like a body of water here front. Running across like a bit of water. You've got this larger kind of body of water running all the way across the bottom here. Heading out towards the right hand side, and then we've got this kind of rockiness down at the base here, okay? I haven't got this scene 100% accurately, but it's a decent enough little sketch. Another thing I've noticed is that there's, like, a road here going all the way around to the at kind of the edge of the mountains. The road is running across here and just sort of circles around like this. And then you can see on the road there is like a car. Actually, very sort of small. You can just make out a car here. Okay. Little indication of the car here. Just a tiny little car the front of it. Then, of course, you've got the windscreen here. And there are some cars here on the road as well, so I'm just going to put in maybe a quick indication of some of them, just a little something like that that could be potentially a car. We'll figure that out a bit later. Be like three little cars back there. Um, should make that one a bit more squarish. Of course, you've also got some of these smaller, like structures here. Kind of a little looks like a little town almost back there, separate from this house to the right. But I'm just making this quite simplistic. Maybe zoom in a little bit on the photo so I can just get a quick rough indication of what it looks like. You got these sort of triangular shapes of the roof. That's all you really need. This almost like little warehouses or something. Just get rid of this one. It's a bit too close to the house. Give me a couple more little shapes here to the left. 13. Iceland Mountains Painting: Alright, so let's get started with the painting. I'm going to basically leave this part of the mountain almost, I'm going to leave it white. And I'm going to go into the sky. Now, it is blue, but also it's kind of like a grayish blue. So I'm going to mix in a bit of neutral tint here on the side or just a grayish color and going to go through the sky in just one wash, essentially, but I've dulled down that blue a little bit so that it's not too vibrant. Okay. And we're going to cut around Oops. That's a bit too dark, but that's okay. Cut around this mountain here. I've only got one chance to do this to leave a nice crisp edge. Okay. There we have it. Over here as well. We got to do this side. The concentration of paint is very, very light. I mean, you've got about probably five to 10% paint in this area, if anything, Okay, that's good. So now we've got a these sort of mountains emerging from the back there. The kind of lighter color. Okay. Now, I'm going to go into this next layer here, which is kind of like a darker blue, right? So I'm mixing in a bit of cerulean blue with ultramarine blue, and this is going to get me roughly that same value, which is like a darker blue color for this layer of mountains here. I don't want it to kind of go mixing with the sky, so I'm just leaving a little edge there of white. Okay. But let's go ahead and do this. Here it's a sharp line, sharp edge. All right. And it's also a bit darker than the sky. Touch darker than the sky, so we'll have to make sure that you've got enough color in there. And in fact, I probably need to make this go up a little more like that, actually. Yep. The great thing about these sort of landscapes is that you don't have to get everything in perfectly. You can always shift things around a little bit. No one's gonna notice. Okay. And here I'm just cutting around these little houses, these little rooftops with my mop brush. It's important to have a brush that has a sharp tip so you're able to do this easily. Okay, let's go around there. Let's start working on these here. It's starting to get a bit kind of greenish, as well, if you notice. So this is where I'm just paying a bit more attention, making sure I'm not going down too far, but I'm leaving the rooftops of these buildings. I'm trying to, unfortunately, I've got a bit of color on there, but should try to leave them white to indicate that snow that dark sort of snow light on the rooftop. Okay. Bit of green that I had leftover previously. It's just a darker green. Dropping that in. I got a few different greens here, but you want to just make sure that you get a bit of that mixture of the green on the blending into the mountain, this sort of bluish area of the mountain, as well. So you can even just mix a bit of that green in with the blue to force that transition to appear more naturally. Okay, like that. That's probably a bit better. Yeah. Yep. Important to do all this while the paper is still wet, though. Fantastic. Okay. Now, as I'm moving down the page, I'm also going perhaps a little darker around some areas like here. You've also got some water in this section, which is, I'm just going to paint it roughly the same sort of light blue color that I see in the sky. Um, hopefully none of that mixes in too much, but I might as well do this large body of water here as well, down below. But could mix a bit better. You can try to make it, you know, roughly the same sort of shape as the reference, but it's not a huge deal. Let's have a look a bit of green here again. Okay. Just connecting this all up nicely. I'm trying to get everything to blend a little bit, as well. Now, down at the base, you've got this sort of grayish colored rocks, and I'm picking up a bit of white left on the paper from my previous painting, I mean, a bit of this titanium white, and just moving that around. So it's kind of like off white color. If you've got any other white, you can mix in a gray, and it just becomes this same sort of color as well. Okay. Fantastic. Everything is still wet in this section. This is a good opportunity now to drop in some small details. Let's get in some of this detail. A little flat brush might actually be better to start with in some areas like I'm thinking, if I start in here, and I'm picking up some thicker green paint, I start roughly in here, I can start indicating some of this darkness there. And also, I want to mix some of this green maybe with a bit of yellow. I've got this other color here, which is Cronacidon gold. And that's what I'm doing. I'm just putting a bit of that in there so then we have some extra vibrancy in that green. Okay. And this kind of mixes upwards a little bit. You know, you can also see there's some darker greens up here there, so I can just mix a bit of that in. It even looks a bit kind of brownish in areas, something like that. There. All across this whole section. And here as well, there's a bit of this darkness. Okay. The only way to do this is to sort of just move and shift some of this paint around while the paper is still wet, because it just refuses to mix after a while, and will look all kind of dried and sharp, which we don't want. Okay Let's have a look. There's a bit more kind of coming around here as well. Just try to get a bit of this in as well here. In this part, there's actually more kind of a grayish value for the it's like a kind of road or bridge. So I'm just going to drop in some darker value there. Okay. Around here, it becomes green again. But spots. And, you know, this can actually be maybe a bit of snow here at the base, you know, a bit of kind of a rocky area with a bit of snow, but also, you know, with a bit of dirt and stuff as well. So it's not 100% white. It'd be actually interesting to just leave that completely white to see how it turns out. But yeah, some shrubs kind of going upwards. This helps to make it yeah, look a bit more bring this sort of depth into the scene. Okay. Going back in there again with this brush to try to really nail in this darkness here. Some parts just need to be darkened. Um, that road that goes all around there, as well, I'd lost the car now, but it doesn't matter. Even here, look, there's some darker bits of the mountain and rocks and things that we can put in. 14. Iceland Mountains Finishing: Okay, I'm going to pick up a bit of darker paint. It doesn't matter what it is, just a grayish paint, and I'm going to start potentially, let's work on some of these mountains. So you'll notice on the tip of those mountains that there is a bit of these little sharper areas of contrast, darkness. So I'm going to go in with this flat brush and just try to indicate that. I'm going to make it a bit more grayish, mix in a bit more darker value there. Okay. Good. That's a bit more kind of bluish in there. Okay. I'm going to try to do this now for a few other sections. You've got this sort of bit here. There's some other bit there. It's kind of quite dark, actually. Just trying not to overdo it as well. But this little bits of texture in this area just makes it look better. Darker spots here. You do also get some of it on this next layer of the mountains. So here, potentially, you can just drop in a bit of it. These rocks rocky sort of areas there there behind the houses and things. H. I just want to add in a bit more color through this section, a bit more blue. Um. Great. Okay. Okay. So more shape, some more darkness running through here. We're missing really the darker spots. So picking up darker paint and just dropping it in there. This is basically just green and a bit of gray mixed in to it there around this lake, as well. There is a bit of darkness like that. Me something there. Ten. This pocket knife and do a bit of scratching out work as well for some of this area here to create some effects of grassiness, you know, just this grass that's sticking up, especially through the front area just to make it more interesting and create a little texture here and there. There's a road here. So I can kind of just scratch it out still from the paint since it's wet. Scratch that out. It kind of looks like a road. Be circling around there. Because this would be quite difficult to do otherwise. There is even a road kind of leading up to this house. I didn't see it before, but it's very, very sort of basic little road like this leads up there. Maybe this one here as well, like that. These little things you just notice from time to time. And yeah, there's maybe one up here as well, just leading up to these houses, but I'm not able to quite get to them. So well, that's okay. Just applying a bit more paint here in the front of the scene, just to darken some of this stuff down. Might work on the houses a little bit and start adding in some darkness underneath them. And this is just a bit of brown mixed in with gray. Okay, and here we are, I'm just going to create a bit of darkness at the base like this. Leaving the rooftop, as well, leaving the rooftop, which is super important. There Like, this one is something, but I've gotten rid of the white accidentally. Now, these other ones are interesting because it's almost like the rooftops are little some of the rooftops are darker, and some of them are lighter. So let me just see if let's paint one of them in darker and see what happens. Not a big deal. Um, but the rest of them, you know, mostly just lighter colors running through the back there. There's not much to do in that section, really, other than, um, maybe paint some of the roofs in, paint some windows. Uh, yeah, I don't want to spend too much time fussing around with this. Maybe I can pop in a couple of windows with some darker colors, like a bit of darker value here. But I'd also thought about putting in a car here before it's difficult to put it in, but, you know, maybe later, I could put in some squash and emphasize this kind of indication of a car, I suppose, here coming through the front of the scene. Um. But that one's probably a little bit too big. This one here. But, it doesn't matter. Can't tell too much. Back in the distance, they will just appear as these little box like shapes. So yeah, I mean, we can even make one up here. Just put like an indication of maybe a car here, parked there, you know, something here, which there is actually all kinds of stuff, like, little trails and little bits and pieces running across. So This isn't actually incorrect. So much detail in here, and you really just have to pick and choose a few bits and pieces that you like, and then go with it. You know, even this sort of area here, it's quite, you know, you've got a lot of this mountainous area that is sharp and has a lot of Stuff going on. Back with my flat brush, I just I really want to just outline those mountains a bit better. But while I'm here, I'm just seeing if I can kind of scratch some details here as well. There is maybe the roof. Just just trying to scratch off a bit of color there for the roof side of it anyway. We can always do this later with add some guash in afterwards. But we have some cars. What else do we have? Um, there are some rocks and things here in the foreground, which I'll just add in here and there. This will be good later on when I go in with some white to bring out some of the shadows, not shadows, highlights. In this scene, I think what's lacking is just a bit of variation for the mountains in the background. There's just a bit more, you know, variations in that blue. It's not all completely the same value all the way. So I'm just trying to put in a few little areas of interest and spots. You could say the I really thinking I should color this mountain in a little bit lighter, just a quick wash of blue over the top. Almost can't see it, but I think that will just make it look more interesting in some parts, anyway. Though I won't do it to the whole lot just in some areas, but here, here. Yep. I think that looks a bit better. Just outlining a bit more of the detail on this roof and maybe some windows, a door or something like that there. Um, let's say with some of these ones over in the back here. Okay. There's some darker sort of spots near the water, as you can see how it, there is a darker sort of separation on the water, which marks out where it starts and ends. So I just want to make that a bit more clear. I kind of lost a bit of this one there, but perhaps I can bring it back with some blue like this baby coat. A bit more blue in here as well, the top section to make it a bit darker at the top. I mix in a bit of white as well in this section to create a bit of this misty sort of effect maybe in the distance. Maybe indicate some snow. But, look, all this is going to just blend in anyway. It's not gonna be much of a difference once it's dried. But, um, I don't know. I think it just helps in a way. And we're finished. 15. Kirkjufell Drawing : All right. So the first thing I'm going to do is draw a line running just underneath where the mountain runs. And if we look at the reference photo, you'll see you've roughly got just probably a little bit above the middle of the paper. So I would say roughly here. So let's go ahead and draw that line across the scene like this. So just above that middle section of the paper. And this is just going to allow me to have a general guide as to where the mountain begins. And this is amazing amazing sort of scene. And we really need to make sure that we get in this top of the mountain in, you know, fairly accurately in terms of the shape because it is a well known kind of landmark. And I'm just going to put in the tip of the mountain there, and then we know that it comes down roughly past the middle section, the middle point of the paper, so a little bit further to the middle perhaps here. Okay, so I'm going to go up a bit more. And I do want to make this mountain maybe just a little bit a tiny bit more larger than in the reference photo, just so that I can emphasize it. Okay? So let's bring this down here. And we know it comes across that Okay. It does have a smaller tip like this, sharper sort of tip like that. So that is looking quite right. And we notice also across the mountain, there's these little what appears to be little striations just running across in areas, and I don't really want to get all of them in pencil just to mark out. This is just to mark out roughly where they are so I can then later on, have an easier time when I'm actually painting this thing. Okay? I think that looks decent for the mountain there in the background. Now, it comes down about here. We've got water all the way in the distance. Plus, we've also got some other mountains here. This might actually be a glacier, but you can see it sort of all the way in the distance. The water actually starts roughly here. Okay, so it's very far in the distance there, but you can see it right back over there. Okay? And you can see sort of where also the mountain sort of touches the bottom there just to raise this section for a bit you've got this kind of greenery and the road that runs across here. It's like a strip of strip of land that just runs across like this. Something there, a bit of land there, and this road that just runs across the scene here. Keeping it quite simple. You can't really see it as it comes across here. We have some people, some figures just across on the side. I'm not gonna bother with them just yet. I want to make sure that the rest of this scene is in accurately. Now, I'm going to use the side of the pencil and just start kind of indicating roughly where everything else is. Now, we've got the waterfall, and based on the mountain, we know that there's a little bit of water kind of coming out from this part here, so I'm just going to mark that out quickly. Like that. That's all going to be white. And this is the edge of this area. I wouldn't say it's a cliff, but it's just a little area where you've got a dip. Okay. And the water flows from the top downwards. So this is kind of high ground round about here. And we've got more kind of water also coming down on this side into the into this area there. I might actually make this one a lot smaller, okay? And my whole goal here is just to keep this as simple as possible. There are these little pools of water, you can see, just gathered up on the edge here, and then we've got some grass and, of course, some sort of cliff area here. Kate. Like that. So rocks, things like that. And then here is kind of a very rocky area that comes all across the front of the scene and then disappears across here. This is kind of a complicated area because we've got just all different types of rocks and shapes, different things running through. So I want to make this, you know, look quite natural, but I don't want to take too much time to draw in all these little rocks and things as well. Okay, so let's change this around. We'll actually add in some more color once we have some time a bit later, but this is just a quick start. And we can detail afterwards. It's kind of like a large chunk of rock there on this side of the cliff. There's also some grass here, and, yeah, the rest of it is just odd sized rocks. They kind of tesselate a bit with each other, as well. Fantastic. Now, we're just going to start moving across to the right hand side of the scene. And in the center, actually, just over here, I can probably start working on this, yeah, this little spot here of the mountain, this area underneath the mountain, I mean, this sort of green area, and then we've got rocks and what have you. Looks like it's been eroded away. And this joins on to this larger kind of mass here, and it has a rock on it. Okay. Let's have a rock on it, and I'm going to just mean to draw that line there, but just carry this all the way across like this. Okay? So we've got a bit of a land mass here just in the center. Looks to be a rock that's just lying here in the water. Just draw that in. There's also a few other rocks here in the water, and around them, you've got a lot of snow. So we're going to remember we're going to have to remember to just leave some of these areas white for later. But for all this sort of section here, this is going to be green, and it comes all the way throughout the back there. This again is the area, a little river, I suppose, that just comes all the way out, goes back in there, in and then here, we can kind of start making this river a little bit more narrow, coming in like that. There it doesn't have to be perfect. Joins on to that bit of landmass. There are lots of little bits of rocks and things here as well, okay? The goal is not to get in all the details. It's just to roughly pencil in where you want everything. The general shapes. Here's a bit of ice here as well. Again, an indication for me to leave that afterwards. Okay? So, I mean, roughly, you can see most of what we need to get in is already there. I will just draw the side of this. This is like meant to be a cliff edge here, maybe. Yep. So I'm going to just just darken this. This is actually a little bit darker. Same with here. You can tell this is kind of like the edge of this waterfall. They're many little waterfalls. And apart from that, apart from that, we don't have all too much to get in. We do have some people that help to indicate the scale of everything. So I can sort of add in a few people here, maybe some figures like that off in the distance. To try to space them apart as well enough. And they've kind of come in on this track here that comes out and maybe goes back around like here. Okay. And there's also some people standing on the edge all the way over here as well, so I can just pencil a bunch of them in. And they're probably actually further up. I put one in roughly here. Another one here. And the size of these figures is really important because it gives this scene a sense of scale. That's really the only reason why I'm putting these figures in. Okay, so I got a couple or four figures there. Got some over here, maybe a smaller one there. Okay. Fantastic. So we are ready to get started on the painting now. 16. Kirkjufell Painting : Alright, so let's go ahead and start off with the sky wash. And the first thing I'm going to do is actually just drop in a bit of gray. Now, this is a leftover gray I have on the palate, but you can use any kind of gray. You can even mix your own gray together, okay? And what I want to do actually is probably spray the paper first, and I'll cover the mountain. I'll give it a quick little spray so I can hopefully encourage these sort of cloud like effects to join together. Nicer. And here we go. Let's drop some in. Now, this is a bit of this gray cloud up the top there, there, and then we've got, you know, another bit coming out there. And I try to keep the end of it quite a bit down the bottom, a little bit more lighter, as well. But you can see the clouds go all the way across, and we need to also cut around this mountain, okay? Leave pretty much most of it white. I find this way, it's just going to be easier. To then add in some color to the mountains or just leave it white in general. Okay, so just coating around here. Bit more up the top there. Okay. That's enough sort of, I think, gray in most parts. Now what I want to do is start adding in some cerulean blue, little bit of cerulean blue in here to keep this nice blue sky in there. But I just thought I'd drop in a bit of that gray first. In terms of the in terms of the actual order of this, it's not a huge deal, but I'm going to fill in these spots there with the cerulean blue. Okay. And being very careful not to let anything dry just yet. Going around and some more blue up on the top left. Here. Great. As we move down, just trying to be mindful not to add too much paint. E. We want to keep it pretty light. There's a good chance I'm going to have to make the bottom of the mountain darker. So let's just go ahead and cut around this. Remember, we do have some mountains here as well in the distance, ice capped mountains, so we just want to also take time to cut around those mountains like this, leave them white. Around this side, I'm just going to bring this wash down the page. I want to just smooth out this side of the mountain a bit more as well. I think it just missed out a bit of that area. Add a little bit more color around some spots to just sharpen up, make it stick out of the sky a bit better. Now, we do have a quick thing to do, just, I think, anyway, to drop in perhaps some darker sections of the clouds. Now I don't have to do it in all areas, in some spots here, I'm picking up a bit of this gray off the palette and dropping it in and try not to add too much water into this gray as well, because it's going to cause this wash to spread a lot. We only want it to we only want a very brief indication of these clouds, okay? So here, I've lost a bit of that cloud before, so I can just drop it in like this, quick little feathering in. And the paper has to be wet while you do this. Otherwise, it just doesn't work. It's very difficult. So you kind of have to make sure you're doing this with a bit of urgency. Okay. I don't want to darken the sky all too much. But yeah, some of these smaller clouds are very important and the darker clouds as well, just to add some interest back there. Fantastic. Et's bring this down a little bit more like here. Okay. So that's the sky, and I think that's probably the first most important part of this scene. Now, what I want to do is I think I'm going to start working a little bit around here and then work my way up towards the mountains, and also thinking to myself, perhaps I want to start around here as well, because I think this top of the mountains started to dry a little bit. And also keep in mind that, you know, the light is hidden in the top of the mountain, but we've got a little bit of darker snow here, which is more of a light bluish color. Okay, so I'm going to start working my way down the mountain, perhaps around here, and let's put in a bit of paint, bit of gray mixed in with the cerulean blue. And I want to kind of indicate this little kind of shadow or darker spot of the mountain here. There. Here. Great. Continuing along. And don't be afraid to leave out a bit of the white on the paper as well. It's not a big deal. As we move down the page, well, you will notice that you get a bit of this green start to take hold. Little bit of this green start to take hold. I want to actually start blending in a bit of this lighter green with some yellow. It's a brighter, more vibrant green that you see in some of these areas here on the side of the mountain here that we can just quickly paint in and there's a lot of a lot of vibrancy in that green. So make sure you're implying that by adding in a bit of yellow, bit of fans of yellow, for example, that always helps to brighten up a scene, but also to brighten up your greens. And coming across here, very light wash. There's almost no paint in here, maybe 5% paint, if anything. Okay. Great. Now, that will blend upwards nicely, but while that's doing its thing, I'm going to start working on this area here, more of that green, keeping it pretty light. Kate. In this spot, we've actually got a lot of blue, and I'm going to drop in some cerulean blue to indicate the indication of this waterfall there in some parts. But a lot of it is actually just gonna be leaving it white. Oate. Some browns as well, helpful to indicate a bit of this rocky color. I'm also being very mindful to just leave some of this white there for the waterfall. And cutting around it, really. Okay. Moving down, joining up this spit of the green. Like a greenish brown almost there. Here. Great. I like to paint from top to bottom. I really helps just to make sure that you've got a smooth wash over everything. Now, here we've got some more green, but there's also a lot of snow here, not a lot of snow, but there are bits of white, so I'm going to just leave parts of it exposed on the page. Like that. Just indicate maybe a bit of snow there. Fantastic. And some more green here, that left hand side. I mean, at this point, I'm not even really looking at the shapes of things. I'm just looking at the color the rough color of what I'm doing. Here are some sort of darker browny sort of values in there, drop that in again really with all these rocks in the foreground, there's not a whole lot to do. Just basically put in some color. A bit of gray for some of these rocks will be good as well because they're not all just brown. But I'll have to go over this again one more time once once everything is painted in, just to add out the details, add in the details of all these little rocks. I can go over most of them like this. That should be okay. A bit of green here. And then we've got some kind of a grayish color here down the side of this rock like that. I'm leaving this area where the blue is, where the water is untouched at the moment. So then when I go in with the blue, it doesn't spread upwards too much. It's really important for me. I don't want it to I don't want it to move around, go up and cause troubles. This is just a bit of that darker paint here. It's kind of like a I guess you call it a neutral tint or just a grayish color. Just dropping some of that down the base here so that we've got a bit of darkness in some parts. Some of these rocks are actually really dark, if you look at them. And a lot of this stuff we can probably do get a little indication of this while it's wet, but not all of it. I mean, some of it's gonna have to be done afterwards, anyhow. But if I can kind of imply some of this darker area, that's going to make things easier for later. Great. And I'm going to just maybe give the whole scene a bit of a spray. I want to just encourage some of these colors to mix together and also maybe create some little cauliflowers here and there. So more of this green coming across the foreground here. I'm just again going to cut around some of these indications of snow ice Grose. There are kind of browny areas in parts as well. So, you know, while I can, I'll just drop in some of this. Even some of these rocks, they're darker and they have some color in there. So let's drop that in. Let's continue on here. Again, just leaving a bit of that white on the paper. That's really the only way you can imply the snow. If we miss out on that, we can also add in guash, some white guash afterwards, but it's just easier to leave as much as you can in here, if possible. Okay. Here we go. Okay, time to work on the water now, and I've got myself some ultramarine blue, which I'm going to really need for this. And I'll probably start off here. This is a sort of darker ultramarine. I might put in a bit of purple in there as well just to darken it down further, and let's drop this in and get this kind of darker value in here. And some of this will probably mix, but as you can see, I'm just sort of cutting around as well so that it's not all completely blue. You know, there's some areas where there's white, as well, I'm leaving a bit of that previous washing and also I'm letting some parts just to blend as well. This is, again, this waterfall, you can see it creates a bit of this effect here where it hits the water. Bit more cerulean in here as well. It's just a bit touch to purplish. There we go. There we go. Good here that's cut around and don't want to do too much there, but just bring this across. Okay. Over this right hand side, we're going to go and get in this whole area with one quick swoop and, you know, leaving out some of that white as well, as you can see, just going on. And sometimes it just takes a quick little brush over the paper like that. It's all you need, really. This is the area where it touches the water so we don't need to really do much there. And it actually becomes really light on this right hand side. Okay. And behind it, it also gets a bit watery back there. Fantastic. I think what I will do is add in a little bit of white here to add in maybe this indication of some clouds, some low hanging clouds here while the paint is still wet around the sides of the mountain. And this should kind of blend in, especially if we just spray the paper a bit like that. In some spots, this is going to be quite helpful. Even some sharper bits of white contrast. That's good. Fantastic. All right. So moving on down the page, one thing I want to do is just add in some details now, so some darker areas of green. I can mix some up already on the page, the palette here, the side. And I know that, for example, this area here is a bit darker, so we can drop in a bit of that green here. Okay. And because it's, you know, it's quite getting to dry off here, you see that it's sharper. The brush strokes look a little bit sharper, but it still blends enough as well. And if you find that it's just not too sharp, you can just spray on top, as well, and that will re wet that area, so you can go back into it and continue working, keeping things soft because in these natural scenes, it can be very difficult to keep that softness in here. Okay. We do see the light back there. That areas like a lot lighter, but there are some sort of darker variations in that area. Even here, there's a bit of darker green like that. Not much, but just something to play around with. It's important to get that green to blend a little bit better as well further up. Don't think that, that should be They go. And Yep. So continuing on. Really to this other part. Here, again, we're just picking up some darker colors, darker greens and things. We're adding them in some spots. Especially down here, you see there's a bit of a bit of a darker impression across some areas of this, I don't know if you could call it a bank, but Yep. And there even at the bottom of this little area as well, you've got some darkness that needs to be implied like that. I put in a bit of just grayish color here. You know, these rocks are not 100% darker values. There are, as you can see, some grays and other darker values in there, warmer grays. Okay? Here, I've noticed, like, on the left side that it probably should you know, we probably could do with some lighter or more vibrant greens here. So I'm just going to drop a bit in, shift that around a little. But that's, you know, this whole area anyhow, we've got the area of the water, which sort of starts here, but then actually goes further in and joins on with this waterfall. It's a little waterfall back there in the front. So I'm just kind of cutting around that a little bit. Then probably up here, I will soften it down with a flat brush. That's better. I just soften that area down. A lot of this is kind of done wet into wet, and you are trying to keep things fresh. This area here, you know, this green, I thought that would be better if it would be more vibrant. So let's add in some more green there here as well. Great. And the same thing goes, you know, you're just dropping in some darker values while the paper is still wet. And if it's not wet, just respray again, because you want most of this really to be wet and wet work. Here, for example, some darker spots. But In fact, that spot out the back there is quite dark here. So just put that in one quick swoop. Hey, that doesn't spread too much. 17. Kirkjufell Finishing : Now, a lot of these rocks, you'll see you can actually leave the general shape of the rock in and cut around to create these indications of you know, little outlines in between the rocks, spaces in between the rocks, Kate. So I like to just do this, keep it simple. Some of them I've colored in already to the left. It doesn't matter, Kate. But as you can see, you know, did a bit of drawing before, and that helps to roughly indicate where maybe some of the cracks are, but if not, you can just make this up as you go. Kate. Do you like to make the rocks maybe a bit larger as we go up into the foreground? Great. Some of them are maybe a bit darker as well, so we can just go ahead and imply some of that. Ends about there, so there's no need to touch that. Okay. I want to just add in a touch more darkness in this area. I'm picking up some Payne's gray. You can use neutral tint, as well here. And this is just to try to draw a bit of a separation. Um, between this waterfall here in the back, mind you, there's still some greens in here that I'm trying to leave as well. Just a little bit over here. 'Cause actually, this water starts to connect onto this waterfall there. It's a little bit of blue. A little bit of blue. Weil running through. I can probably get that in afterwards. It's not a big deal. But it's actually more of a smaller spout coming like that. And then yeah, like that. That's better. Okay. And some of these darker kind of rocks around here as well. This just shows the area essentially where we've got a lot of these Rocks in the water, maybe. I reckon I'll start putting in a few here as well with just leaving in also a touch of white in some areas, Kate. But, yeah, we want some rocks here in the foreground. But this is simplifying it down a lot, really. There's one here, actually, one little rock there. There's a few more here. So more here running through the water. Really, there's just as you can see, little quick indications of these rocks or dark areas. That. We can do it here as well. Just in some spots. Some sharper marks are really important as well. Scenes like this where we don't have a whole lot of sharp shapes. It's a lot of softness so far. I just want to re touch up this area a bit. A little bit of white again to add in some lighter these sort of lighter clouds, I guess. And kind of create a bit of contrast so that they, you know, some darker ones within the lighter clouds and vice versa. We it will dry like this. I don't want there to be any sharpness there in the sky. Bit more white these clouds in areas so that it's at least consistent across the entire scene. Okay, so now what I'm going to do is start to lift off a bit of paint again with this pocket knife. You can also use a credit card or some other tool for this. But I'm doing this so that I can create some effects, like these sort of grassy effects here for the side of this mountain, elevated area underneath, and we'll just bring add in a few more of these little scratch marks there. Okay? The idea thing I want to do here is just imply that there are bits of grass essentially growing off the side of this elevated area. And in this darkness here is the a little drop. So it helps to elevate, I suppose, this area so that it looks higher up. Okay? That's a little trick that I do, and I find that it actually works quite well. Okay. Because it's difficult in watercolors to create a decent sort of texture. At times, it's very tricky. You can also scratch out maybe some areas if you want to indicate, like, I don't know, a bit of rock or something as well in here. You can scratch out like little areas that might look like rocks, highlights on the rocks, that sort of thing. Okay. But the main thing is, like I said, to try to get in little marks for the grass that's growing here.This is the only way. I think, otherwise, it's just not going to look realistic. Now, as we move down into the front of the scene, you'll notice that I am creating longer sort of marks. This is just an effect. When you get closer to the front of the scene, you're going to get more some larger shapes. Things are just going to be larger. So you can move further away. The same objects going to appear smaller. So a bit of texture there. And I'm going to also do it here in spots. And you can also use it to create some rocks or things like lighter colored rocks. It doesn't have to be it doesn't have to be bits of grass or anything, but, I guess, some inconsistencies and bits and pieces. Okay. Great. Okay, I'm going to start working on the top of this mountain, and I will use a flat brush for this. A flat brush. And let's mix up the color for the top of this. I'm going to use some brown and a bit of gray. And this is going to be a fairly dark color. It's probably not as dark as that, but getting close to it. And it does help at times to zoom into that reference photo to get a better indication of things. The flat brush helps, see? I really just sort of helps to replicate that those striations on the side of the rock, the cliff, mountain. And here, you know, I'm just trying to replicate this pattern running across. Hopefully just in one go, getting most of this in. Notice I'm using the side of the brush quite carefully touch and go leaving that white on the page, it's so difficult because you're tempted to just paint everything in, but if you do that, it's not going to look like snow. Okay? As you move further on, you see some of these striations get a little bit larger, and then they start getting a little smaller again, okay? So we're about halfway down the mountain now, and, you know, here are some more. This is like the light area, and then you've got this area here where it just starts to get quite dark further down. So I will just drop in some paint here for these larger little striations running across the bottom. Another thing I've found is that, you know, here, there's actually a little road that's running out. That's that same grayish color. So I'm going to get that road in here, running across. Like there. There are some little darker striations running down the side of the cliff here, so I can just feather that in like that. Maybe darken this side a bit as well more. Okay. Okay, let's give this a little dry. So last finishing touches, what I like to do here is to go through and darken off some spots that I feel need some extra detailing. So, you know, we've got rocks. What else do we have? We've got darker sort of spots in areas here sharper sharper contrast, as well. Trying also not to eliminate all that softness that you see in some parts. So you're really just picking and choosing some areas of contrast, extra detail, maybe to bring this scene together, but trying, you know, also not to overdo it. I've noticed this kind of rocky area does go up a bit further, so I'm going to go up here and indicate a few more kind of rocks. This make them a bit flatter as they go up as well, Okay. And this layering effect that you can do with watercolors is amazing because often you can just make you can really make a scene, and most people give up in that first wash. But you have to persist and have faith that it will turn out okay. It's a lot of dry brush work also through here. I don't want to overdo any of this, but, you know, up here, for instance, you've got this sort of cliff area that has overhangs and I'll just, you know, put in a bit more of something in there. To indicate, like an edge. There's also this path that you can see that just runs from here all the way out the back to, you know, I guess the road or the bridge out the back there. You know, I can outline this area of the road as well a little bit more because I lost some of that contrast in the first wash. Have a look at this mountain again. I'm not 100% pleased with it, but it's okay. You can go in again with another bit of paint like I'm doing here to just tidy this up more, give it a bit more contrast in some spots. Um I do think the bottom of this mountain might need to just be darkened a little bit to bring it out of the sky. So I will just go in and do this. Why not? It looks a bit better. I'm gonna give it a quick little sprits to blend blend together. And again, just, again, implying some more sort of this darker edge of the cliff in parts. There are some darker spots here and there. Put in some more of these darker shapes here the edge there. I'm also thinking the water just needs to also be darkened a little bit. Again, in some parts here. I'm going to try to lift off a bit of paint here, the smaller brush to create maybe some softer water like splatter effects just soften the edges of this area, especially where it maybe hits the water here as well, you know, you do get a bit of this flowy effect. Okay. So I'm just trying to just maybe get back a little bit of the paper, the white of the paper and make it appear sort of softer as well. So you just pick up a bit of water on your brush, rub away at the page, and just lift off like this. And not only that, I do notice there is, like, a little waterfall here, tiny little two of them, like just running down here. Maybe that doesn't really read like one. That kind of just looks like some striations in the rock, but actually that doesn't look too bad. It just breaks up that darkness or touch. And you can do the same up here if you want to lift off a bit of paint. Just touch on, rub and just move on that removing a bit of that lead pencil that's still present on the page. You can just move that around a little bit. Okay. You know, some little finishing touches, I'm going to pick up some white paint. Okay, a bit of white paint. And I think what I can do here maybe flick a bit of paint to create a bit of this waterfall splatter effect. It's going to be a bit tricky, but, yeah, this is probably one of the only ways to do this to make it look a bit more realistic where the water kind of hits the Waterfall sort of hits the base. And then you can sort of also kind of imply that it's coming from this source here. This one doesn't need much anyway, but that one maybe could do with a bit of that. I'll just put in a bit of color for some of these figures, bring them out of the darkness. So more darker rocks and things here in the background. And we are finished. 18. Helsinki Drawing: Alright, so let's get started on this scene. Now, this is in Helsinki, right in the sort of edge of the city, doing a bit of walking around. And I noticed this really nice sort of light pattern coming off from the right hand side, forming the shadows to the left. So I took a little snap here, and I think this is perfect for a street scene. Might even add in a couple of figures walking down the road. Let's see how we go first. But yeah, look, the first thing we want to do is put in the little line right at the back where the buildings touch the ground, okay? So if you look right at the back, it's roughly just under the mid section of the paper about here. So I wouldn't say a third of the way up, but a little bit more than a third of the way up the page from the bottom, okay? This is going to give me enough room to put in all the cars, that kind of thing. Okay. Now, the most important thing I try to do from now is basically put in the general shapes of the buildings, okay? So I don't try to draw them all in right at the same time, but I'm going to sort of pencil in roughly where the sidewalk starts, so here, then it comes in all the way to the middle maybe of the page. Here. So I'll just draw in a rough line that goes there, and then we know that there's another line that comes out, goes all the way down roughly about here. And this is the bottom of these sort of buildings. Moving up, you've got this tree, and then, you know, further up the page, kind of like this dome, half of the dome that's exposed there. And then further up, that's it. You've got the building there to the left. And another thing you can also start to do is put in a little bit of this sort of perspective, okay? You're using this basically using these perspective lines here on the side of the building to just add in down at the side, okay, for the windows, that kind of thing. You can see here there's also this large large shape coming up across here. This is like a little shade, I suppose. Where does that even come into roughly about here? Good. So that's one of those shades, and then behind it, you've got another shade there as well. I sort of finishes off roughly there, and underneath there's a bit of that sort of shadow on the building. So like that. So I'm just trying to create this simple simple sort of silhouette of this building, okay? Will you know, while I've done that, what we can do is start also putting in the buildings to the right. So again, I can see here at the back, there is some sort of rectangular shape, okay, sort of the side of that building. Maybe that bits in the light, here to the right, and then to the left, you've got, like, a bit of a little bit of darkness here. And there's also a tree that runs across underneath there, as well. And let's have a look. What else do we have? We've got more of these buildings that just go all the way up and across here, right through the center of the page, you notice this triangular rooftop that I'm going to need to get in. We know that it is roughly in the center of the page, like that. And there we have it. Leave a bit of room up on the top of the scene as well. This will then help me to guide the restless side of the building buildings. And you've also got this sort of area here as well. The It doesn't have to be perfect, okay? You've got a few windows you can pop in, carry this sort of this sort of pattern downwards down the page here, of these windows. I think these windows are really important and they help to bring everything to life, make it look more like a building. That is part of that dome or whatever. You can see also there are some of these windows running down the side of the buildings like this, which I can just imply and not spend way too much time on that at all, just enough to sort of indicate that there are some of these little windows here. And then some of them actually go behind as well. You know, it gets to the point where there's almost too much going on and you don't have to really worry about everything in here. But it's a simplification of what I see happening. Okay. Make this tree a little bit larger there as well. Okay. Good. I do notice there's actually a person sitting here underneath this shaded area. See if I can just put her in on indication of a person. We've got a table here, you know, just sort of sitting by like that. They're sitting by the side. Okay? Fantastic chair and just, you know, another chair here. Really quick indication. It's not much at all. Okay, just to show that maybe there's someone sitting there. This front of this building here has a kind of part that sticks out like this. But let me just see if I can pencil this in, okay? There we go. Front of that building. Okay. Fantastic. Put in the sidewalk a bit better. And the side of this building here, you can see, it's got like a rooftop there that connects onto the building. And then we've basically got this other building that cuts in front, okay? But I'm going to just put it roughly here, okay? And let's get this building in. You know, it's got kind of an interesting rooftop like this. We want to leave a bit of room as well to make sure that the last building is in there. Okay. Fantastic. Great. And then, of course, you've got this larger sort of building here that runs up and exits out the top of the scene there. Here and we'll just bring this little I don't know what that is a little shade or something there. I'm just looking at them as shapes really. I don't bother too much as to, uh, the exact thing that I'm drawing in. It could be a rectangle like these windows here, or it could be a triangle. You know, all I know is that there's four of these that run down the page, the side of the building, and then we're going to have to make these other ones here to the right, roughly around the same size and the same location. Um, okay, well, I've drawn that one in kind of over the top of the others. It doesn't matter too much. And, you know, this is kind of like the entrance of some kind of shop. I don't know what it is, but I'm not gonna bother with the little details. Seems to be a car here as well, just parked on the side of the road. If I can kind of get that in Quick rough. Uh, indication of it in the back of the car, the window there. The underneath car there. Now we've got the wheel. Um a funny looking thing. It almost looks like the front of the car is missing. I'm just putting that in just to simplify it down. There we go. We've got some kind of car like shape here, right on the right hand side. It's all it's really all that I need there. And the building, of course, you know, you've got these little perspective lines that run across the building a bit here, and I can again use this to put in some indications of windows. There's this sign here that says, A, and I think that's actually the suburb, this suburb of this area of the city. Okay, there we have it getting there. But there's a few more here. It doesn't matter, because really, underneath, we're starting to look at basically basically some cars. This must be a church. There's a chimney here. Well, a side. Fantastic. And it's, you know, it's not trying to get in all the detail. Remember that. Just an indication of everything. Okay, so I think the easiest way to do this is really just to go in here and get that first car in, and I know the top of this windscreen hits the bottom of the building there, and then you've got this kind of roof rack over. So the cars got some kind of storage up there. Okay? That's all I'm going to imply, just a bit of that roof rack there. You don't even need to put this in if you don't want to. But that's the run of it here, that's the bonnet. Then you've got some of these lights. It's newish sort of car, so they angled upwards, interestingly, like that. And it comes down like this. Let's put in the bottom of the vehicle. Okay? We know it hits roughly about here, and then you've got the car plate there. I kind of just comes around a bit like that. Okay? It's like it's got a body kit or something on there. It's quite actually low to the ground. Here is a wheel. Then we've got another wheel here to the side, and then we can sort of start working on this back area of the vehicle like this connected on. Connected on to the wheel. There we have it. We've got the larger car in there anyway, that's going to be helpful. And of course, you've got windows as well, you can see the windows actually reflect the light that's on the left hand side. So basically the light comes in from the right, hits these buildings, and then is reflected by this reflected back onto the windows. So that's why there's actually a little bit of light on there. Okay. Great. Now, here comes the other cars here in the back. These ones are a little bit easier to do because you don't really have to put the sides of them in too much. That's the front there, and then you got a little bit of the side showing like that, bit of darkness running down the side. And there you have it that's like a basic sort of car there. I got another van or something back there. Down just underneath like this and some more cars that are just kind of lined up behind as well. All the way through to the point where you can't even really see what is happening back there. But the first yeah, these first few are the most important ones to get in right. Okay, the shadows are not a huge deal because we can get them in later in watercolors. But I'm thinking whether I want to actually put in a person here or not because it's gonna be more, I think I might put in a person. Let's just get in maybe someone walking a little bit closer, um, here. That could be a person walking into the scene, it will create a bit of shadow to the left. There maybe like this person's holding a bag, right? I'd maybe put a child here. I was thinking, just a smaller figure because I don't I only kind of wanted to put one in, but maybe a couple like that would help balance it out a bit, so got three figures rather than just this two and then you've got this space in between here. So that's looking decent. I just having a look to see if anything else will draw in, but I think that should be good to go for the painting. 19. Helsinki Painting: So I'm going to start out with really light values here. And the important thing to do is just to make sure we've got some warm colors in. So I'm going to put in some bit of yellow here on the side of this building, and this is kind of like a bit of golden yellow cinacridon gold and also a bit of yellow ochre. There, why not a tiny bit of this brown burnt sienna as well in there, okay? So that we've just got some warm colors running in to these buildings. Okay. Um, there's a bit of more golden light on this side of the building. Let's get that in. And there. Great. Um, And any way that I can simplify this down by using fewer colors, I always take that opportunity because you often tend to mess it up when you put in too much too many colors, and then it just becomes absolutely confusing. So keeping it pretty light for now, this is just a back in color. Okay, this building on the rights kind of got a yellowish look to it, but I'm going to drop in a bit of some neutral color as well, a bit of white and a bit of the yellow just to doll this one down a touch. Maybe got some gray here on the right hand side. I can just quickly add in. Again, with this type of with this type of painting, I try to simplify down the colors and try not to create too much vibrancy. I'm cutting around this car here, just need to make sure that it's sticking out a bit better. A bit of yellow here. This building on the left, I don't really need to do anything with it. I think I'm just gonna leave it white. But this building here, I'm going to add in some yellow ochre, the side of that building, okay. And perhaps the roof as well. I'm going to get into details of that roof later, but that should do the trick for now for that building. Okay. Dusty. So let's go ahead and put in some colors in the sky. I just want to get in a light wash of cerulean blue. And I'll try to make it a bit darker at the top, maybe with some ultramarine blue up here. There. Cerulan and ultramarine. Okay. And some of it may mix into the sky like this. Let's not worry too much about that. Let's not worry too much about that. We just want to make sure that, not all of it just goes down into the buildings themselves. But if there's a bit of mixing, it's not the end of the world, okay? In fact, some of the rooftops of some of these buildings, anyway, are a little bit cooler in color. And we'll get that in afterwards. But most of this building anyway, most of these buildings are going to be darker on the right. Okay. Great. That's a bit of that. Done. Now, um, I accidentally gone a bit too far down with that blue. I'm gonna just lift off some paint there for that building. I should have left that one white. But it's no big deal. I do have some other white and cream sort of color that I could potentially just add in there a bit to try to soften that down. It's no big deal. Okay, so further on down the page, we're just going to add in some extra colors. But firstly, with the cars, I've got some neutral tint or basically some grayish color, and I'm going to start putting that in to parts of these cars. So here, the rooftop of the car. I'm giving it like a really basic gray color. I mean, this will kind of form the basis of, uh, the basis of it. Okay? So it goes all the way down to the bottom of the scene. Pretty simple like that. The car behind, I'm going to leave the right hand side of it kind of white anyway, but just a little bit of gray on the left hand side like that and maybe here. That would be good. Same thing goes with this van behind, leave a bit of that white showing through. And, you know, the ones in the back it doesn't matter. They're really just darker, so it's not a big deal. Okay. Great. Now, let's do the ground. Same grayish value, which I'm going to pop in here, cut around this figure as well. G a bunch of these figures, but cut around them like that. Here, let's get in. There's all this darkness around the car, the cars further down the page. And I'm just going to darken a little bit more near the base. Okay. Maybe a bit of yellow ochre running through to warm it up as well in some parts here especially this step is a little bit warmer. Yeah, just to create a bit of a different color in here, so it's not all just gray. And I'm going to continue this same wash down the page here to the right like that. And let's just get that in one quick swoop. Fantastic. It's actually darker, a bit darker on the right hand side. Um, A lot of darkness back there. I can actually try to put in some shadows already on the side of these buildings like darker shadows because the paint is still wet, so this is going to allow me to do this these sort of tree shadows you can see running on the right hand side of the building like that, soft wet and wet shadows. I noticed there's a little bit of that going on here as well. Okay? I don't want to do this for the entire thing, parts of it. Okay. At least softer shadows look amazing. I really like to add them in where possible. Okay. I'm trying to also get this area on the right a bit darker so I don't have to redo redo it again. But chances are probably will have to connect it up a bit Okay. Just some of the shadow here to the left. Okay, so the buildings are looking pretty good. I'm just going to put in some color here for these shaded areas of these two shaded areas, so a bit there. And then you've maybe got more darkness underneath, actually. Quite. There we go, something like that to indicate the shadow underneath. And then the other one here, again, pretty dark there. And there's also a shadow that joins on to it here underneath that I can just connect nicely like that. I'm thinking I might actually do one here, kind of like a made up one like that. You know, there are some kind of gate, these gate areas or whatever here. I can just put in something like this. Again, this is just simplification of what I see. It's not anything too serious. Fantastic. You know, you got these windows as well, I might as well try to drop some in while the paint is still wet. Oops. Okay, let me figure out the back like that. Great. Okay, let's give this a quick dry. Alright, let's go ahead and get started with the next stage of the painting, and we're gonna be putting in some shadows. And for this, I'm gonna be picking up some purple and a bit of grayish color. Dark grayish color for this. Now we're going to start working on a few different things here. So firstly, you want to look at this road and this road, I mean, it looks a little bit too light, way too light. Okay. But in order to get to that first, we're going to have to go onto the little buildings and start working on the buildings, and I'll actually put in maybe some blue little bits of blue in areas. I've got some cerulan bit of cerulan blue I can just drop in maybe some light little wash of blue in some areas for some of the windows. You don't have to do this for all of them, but it does help indicate the light from the sky, bit of something like that. And let's go ahead and get in the roof first. Probably with some brownish color. I've got some burnt sienna and a bit of Brown, bit of burnt tumber. So that's, like, pretty dark here on the left side of the building like that. Okay, comes across. There on the right side, it's like a lot lighter, so I can just soften this color down a bit so that it becomes lighter. Okay? If I can just do this with a few brushstrokes, not too much fiddling around, it's just going to look better, okay. There's light underneath this part of the building there. But what you can see moving on to the left hand side is kind of this warmer shadow, actually. So I can put in maybe a bit of yellow ochre and mix that in with some of the gray. And from here, I can actually put in a nice little wash of this color over the top. Okay? And at the same time, maybe cut around some of these windows. We know that it sort of stops roughly about here, the shadow. Okay. But notice how I'm just cutting a bit around the blue, as well, like that. Here. Here. Yeah, further down side of that building. It just has to be darker. Okay. Fantastic. A lot of that sort of color that I had put in there for the for the tree shadows have gone. So I just thought I'd put in a bit there quickly like that. Why not? Um, Just to show that there is a bit of a shadow maybe coming in from behind there. Um, of course, a bit of darkness here as well. I might leave that kind of brighter bit of yellow there. Okay. For the rest of this, we can sort of add in a little bit of detail, a bit of something there for the building in the background. I'm not fussed really about all the little details of this, but I do want to make the bottom darker, so oops, not too dark, but just the bottom of these buildings can do with a touch of darkness Um, and this is where I can actually just blend it on with the ground in a moment. Before that happens, I'm going to just continue working on this building here in the back. So let's get in the rooftop with a bit of that grayish value here. Uh, there we go. A bit of that grayish value. There we go. Kind of that dome. And on the right hand side here, there is also a bit of a darker part of the rooftop, a bit of grayish color. You can just pop that in like that with one quick swoop. I should do the trick there. And coming down, let's cut around some of these little windows and what have you on the side of the building. Yep. Yep. There we have it getting in this silhouette of the buildings here in the background. Okay. If I can leave some of that yellow in there as well in the background, that's going to help. It's going to make it look a bit more interesting. Okay. I don't have to do it for all of the areas, but just some areas. I like to leave in a bit of that previous wash, because it looks a lot more interesting once you're done. Okay, even that bit of that yellow here left around in the back as well. But down the bottom where, you know, you've got the cars, this is where I just will add extra darkness. And this helps to bring out the cars more like that. Even here, there's actually some darker spots which I'm going to put in. Okay. Around this building as well, you'll notice that there are some trees and I can use these trees to create a little bit of contrast. See, between that building there, then it brings out the side of that building as well. There we have it. Same with this figure here in the foreground. Notice I'm just cutting around that figure. Then there's also some trees and things here which I can imply like that. All kind goes into the background, into that mix. Okay. And 20. Helsinki Finishing: Let's work on this whole large section here. Again, just I'm picking up some grayish value and adding in some darker sort of purples in some parts. And I'm going to just drop this straight in here and go into the ground. It needs to be darker. I definitely needs to be darker, here. Okay, goes underneath the car. This whole car is interesting. We're going to need to get part of it in darker, but I'm also wanting to leave in some of that previous wash there as well to indicate the lights and small details of the car, little highlights that you can imply. But the big thing here is just joining it onto this shadow to the right. Okay. But I like to leave a little bit, just a little bit of white in areas like that to just show that there is a light source from the right inside. Let's go into the rooftop. This needs to be a little darker as well. Okay. Side of the car. And again, you know, you see the windows, there's a bit of that color in the windows, bit of the light reflecting onto the windows. So I'm leaving that there. Okay. It's if the paint is spreading a bit too much, you can sort of do this sort of thing, just lift off a bit of paint. Now, the wheels need to be darker. I'm just going in with a bit of darker paint here, and the underside of the car as well just needs to be a little bit darker, especially on the left hand side. I really want to make sure that there's enough darkness here. Okay? And there's a little bit of light on the right hand side of the car. And I should bring this all the way through actually down the page to here, connects to the bottom of the car. Like that. And, of course, maybe here as well. Okay, so let's get in these wheels, a bit of the darker paint on around the wheels. And it's kind of this large shape that comes all the way in here, doesn't it? It's like there and then disappears out there. So just coloring this whole shape, you know, you've drawn in, connected up with the car, the wheel. And also remember to leave maybe a bit of light on the wheel just to indicate so it comes out of the darkness a bit. It can be tricky. To indicate that. Here we've got this car here, and again, it's the same sort of deal with the wheels underneath and this shape that just extends out. You know, you've actually got these figures. I might as well just do the figures too, the legs of these two figures. There there's one. And then here's another one here. Simplify those figures down like that. This can also kind of help to indicate the details of the figures. They just blend that shadow on there. But of course, the car is the important part as well, just getting this shadow of the car coming through, maybe finishing off like there or something. You know, another car here in the back. Same sort of deal with that shadow and here and continuing it on all the way into the back of the scene and Actually, the shadows of some of these cars go all the way through and almost hit the building. So it's interesting. I think I might make this one go a bit further actually out here, which means this one might have to go a bit more as well. But being careful not to leave not to get rid of all the light is so important. A bit of detail here for this step. Some of the windscreens that windscreen is dark. So I've got to paint that in plus the left sides of the cars, which are kind of like a lighter gray value. Okay. So I'll just join that on like this. And I don't have to do this for all of them. So like that one there, I might just leave white and join that shaped downwards like this. Same thing goes for that one. I might color in the next one. Okay. Okay, that's looking pretty good. This car here needs to be grayed down a bit as well. Just add in a bit of color, a bit of gray washed down gray. So we're using a ton of water in this mix. And there's not really a shadow for this car, but I'll just maybe indicate something like this, even though it's not really there, and I hope that it will just dissipate a bit more once the painting is done. Lift off a bit of paint on that car, as well. That's good. Now, the figure, I want to put in some color, maybe some blue here, a bit of light blue. I lift off some of that paint it was too concentrated. Yep. Got a little bag on the side. I might leave that white. This little bigger here as well, a tiny bit of color, a little bit of darker color. Fantastic. This figure here sitting to the left, I will just try to imply someone sitting there, okay? Just very basic figure sitting at the table. Of course, the table is pretty. There's lots of detail in there. I'm just going to put in a few little brush strokes like this to indicate that, you know, could be a table, chair, that kind of thing. Okay? It kind of looks like a person sitting there, doesn't it? Okay. And really, the whole process now is finding little details that you might want to add in. So I've noticed, for example, here on this side of the building, that there is a kind of slightly darker section with like this color there. So add that in behind the gate. That And, you know, the rest of this is just windows, um, you know, bits of the awning like this, as well, which I think I'm going to just try to indicate, simplify that down. This needs to be darker, a bit of that underneath of that awning there. Okay, B on the top there as well. Let's get this other awning in from the back. I've gone too much with that last that brushstroke, that second one, but it doesn't matter. But again, that awning needs to be darker underneath. There is also another awning back here, which I'd forgotten to get enough of the detail, but that's going to be okay there. And there's some darker areas underneath that one, in fact, I can quickly get in Okay. Rooftop of this building, let's put in some darker value up the top there for the part of the dome. So we're trying to keep it fairly light. Kind of put in sort of the sides of the building to give it some structure, I guess, in areas. You hold the brush further down like this in order to get that detailing effect because you have more control when you hold the brush further down. And it's the same thing here. I mean, I mean, I'm just going to pick out a bunch of these windows that I can, you know, pop in there. I don't even need to do that much, just a bit of something in there. The rooftops, in fact, I probably I'm probably gonna just leave them as they are tempted to actually increase the strength of the paint in the rooftops, but I'm not actually fussed to do that. Um, this Fantastic. This area is actually really dark inside here. I can actually imply this by mixing more paint. In there, there's even a bit of darkness here. Rooftop of this building here to the front and the little windows like this. There's a circular area there, here, and there's actually a wall that just runs behind this car. Like that. So a lot of this stuff, you know, you are just implying rather than stating anything and not fussing around too much, you know, I put in a few marks for this sort of building here in the back. Again, a bit of detailing work in some spots. You know, underneath the rooftop where you see maybe there could be some shadow. You know, that's where I start adding in more detail. On top of the roof, you can see, there's actually a little bit of darkness here and there. I also noticed behind there's a tree here, like a darker sort of tree. So why not just add in that darkness? Because this is going to help I hope it's going to help to bring out the light, a bit of that reflected light that you see on the buildings here. And that's from the light bouncing back from those buildings to the left onto the buildings to the right. Okay. And a little flat brush is actually helpful for these types of windows because they actually are the same shape as the windows anyway. So you can just do this. Actually, it's an easier easier sort of trick, if you want to get the windows in more in a uniform sort of manner, because I had not. I don't think they look too accurate. But, yeah, a little bit of that is going to help. Okay? Some of this sort of stuff back there for these buildings, you know, the separation between buildings as well. You can see, you know, even through here, you can just keep putting in these little windows and they get smaller, more numerous as you move into the back. You know, there's some parts here where you can kind of locate the little architectural details and put in, like, this perspective that you see here on the sides of the buildings, not super necessary, but it does help. To make the building look more kind of accurate, L here, maybe here, as well. You'd just be surprised just how few little brush strokes can bring things together and make it look more realistic. This whole area here should be darker. Really needs to be a bit darker. Let me just color that in a bit more. Okay. We've also got trees here, too. Do have green. Let's just add in some more this dark green. You're not going to be able to see much of it anyway once this is done. But a bit of that kind of trees and stuff here in the background. You can also scratch out and I normally use a little pocket knife to do this. To just scratch some little verticals there, you know, maybe that could be a branch, a tree branch or something. Same with this one here, you know, keep it looking interesting. And not only that, you can do the same thing on the buildings as well. Like, if you want to bring back a little bit of light in some spots, you can actually do this. Yeah, sort of scratch out some details on the buildings. Maybe there would be a bit of light bouncing off in some areas. You can imply that. Yep. I'll just put in a bit of red for these figures, the heads of the figures here. The dull it down a bit. There we go. A couple of figures around shoulders, I will just add in some more darkness so that it looks better. Really, this whole end part of the scene is just adding in tiny little bits of detail. Tiny little bits of detail. And I reckon what would help is a little bit more kind of fine details here, like on the saying on the windscreen, you know, just outlining parts of the windscreen and the bonnet of the car, that kind of thing. Maybe the wheel here and there. Uh there's a can get this person to look like they're wearing a hat, maybe. Maybe like a door or something behind. Sign little sign post here, for example. I notice there's another bottom part of a balcony here on top of this shade. Talk about that a little bit. Okay, and I think we are finished. 21. Kauppatori Drawing: Okay, so this is an interesting scene, and I took this photograph because I really liked the light pattern here in the foreground with these two figures that kind of talking, conversing in the foreground, and also just with all this light in the background. And this is a market area in Finland, just in the Helsinki area. So yeah, you can see in the background, all the kind of orange tints in the back, sort of in the right hand side there and over here as well. It's a nice place to go walk around, get something to eat. Usually, some sort of fish related dish and also look at some of the handicrafts. So let's go ahead and get started with drawing, and I'm going to probably put in the I kind of line here around about a third of the way through the scene, okay? Around about here. Just maybe a bit more than a third or roughly that much, okay? So this is just going to give me a bit of room so then I can get in all the rest of the details. Alright? So first things first, I want to put in all this stuff in the foreground. And if we do this first, it's just going to make it easier to get in the rest of the details. Now, put that a little bit to now, I want to make sure that I've got this right here, the background you look at there, we've kind of got maybe a bit about a third of the page up or where the end of this kind of little shop finishes off in the center. Now this is, it's basically little shop, little news agency or whatever. But I thought it looked really nice. Interesting. And let's put it in kind of the top of its triangular like shape there. Comes down, it turns until it is rectangular like shape like this, and then it comes down. Then you've got this area like that underneath there. I actually has more of a slope like this. Yeah, that looks better, more of that sort of a slope, and part underneath there. What else do you have? You've got another part underneath like this, and it's sort of in three sections. Then, of course, you've got the bottom of it, which is hidden actually behind a whole bunch of stuff. You've got this umbrella here in front. And I've drawn a ton of umbrellas before because I really like beach scenes. And what I'll do is start putting in a umbrella here. Just underneath this part, like, something like that. Okay? Just a little sort of blue umbrella. At that there. Got an umbrella here as well. This one's more of this triangulate shape, and you've got awning bits of awning underneath. That one as well. I think that's pretty much it. You've got those two umbrellas. The actual shop front has a shade that comes out like this there, which I can just indicate. Like that. Nice little shade. Make sure that's more confidently put in there we go, like that. That umbrella is. And I believe there's another one kind of I might change the location of this one a little bit, maybe to make it come out to the right hand side, like that. That way, I might be able to get some shadows underneath, just some interesting shadows. They're just trying to really make sure I've got enough details in here. You can see there are these three windows, like shop front windows that just pop out and look a bit darker and they go downwards into this section here of darkness. So I'm going to just copy that, put that in. Okay? There's a kind of booth or something here. I don't know. It's like a area there and then a side of the Oops side of this little box or whatever. Then a bit that comes out there like this. And this is all kind of white. There's not much coming out. But what I'll do is actually put in the figures here now. There's a lady looks like she's sort of standing here next to this man, also sort of facing this direction, and they are kind of Well, this guy's standing up, actually, like this. This lady. Head, I need to rotate the head a little bit. And what I try to do with the heads, I always slant the heads a little bit closer to each other. If these two figures are talking, normally, people will have their heads sort of a bit closer to one another. You can see the hand is stretching out. Looks like she might be holding a phone. Maybe they're a couple of tourists and they're just deciding what to do. Maybe they're a couple of locals. You know, they're looking at the paper together. I don't know. But this is a good little little scene, and you can see their legs come out the bottom like this. They actually are closer together. This guy's legs are just sort of joined together like that because he's standing, like, to the side. I might actually change the legs of this figure as well to the right, just to make just to make it kind of similar to the other side. Guy. Okay. And over here, we've got all this light, and I'm trying to also leave maybe a bit more room here in the background. It's like some kind of booth or whatever. I don't know what's in here. There's a guy that's sitting here selling stuff. You can see just all the little bits and pieces and handbags hanging up. From this little stall. And it's all in darkness. I'm not really going to bother too much with the, with all the little details here, but it's a guy just sitting there behind the counter or whatever. It looks like there's a sign here of some sort. Fantastic. In the background, there's a bit of water. We can just get in that sort of indication of that water all the way through the back. This is kind of like the harbor area, actually. Now, on this right hand side, there is there is this building, and I'm tempted to just simplify this one down. I don't want to overstate it, but put in that building and but and actually up here is an area where people can sit, and it's like a viewing platform. They can sit up here and sort of look over the city. I went up there myself, and you can see there's a bit of that netting area. I don't think I'll actually put that in later, but I just need something here a bit to kind of balance out the darkness, as well. There is some shape here. Let's put that in. And again, always remember you don't have to you don't have to put everything that's in the reference, but sometimes it does help to have some areas of light and dark. And if that if that means putting in a shape on the side, I don't even know what that thing is, then you can just do that, okay? And also got some people. You can see just some figures I've added in, and I want to make this more lively of a scene. And so that's why I'm doing this. Just some more people walking in, maybe in the distance, you know, standing around here, maybe can be a couple of people just standing around like that. Of course, we've got these two main people here. The question is, though, what sort of shadow pattern do I want on this scene, okay? The light is coming in from the right hand side. And so I think I'll need to make all those shadows run kind of upwards like that. I want to make them a bit more dramatic and more interesting looking. And this is actually the shadow here is cast by building behind. So we've got most of, you know, these buildings in the foreground put in. We need to put in some of these buildings in the background. So there's something here I don't know what it is, the top of a roof, another top of a roof or something like that there. You've got these plants, trees. And this here is important. This is the church. It's the old church. And escapes me, actually, what it's called, but it is a very famous landmark in Helsinki went there in the middle of the night. And it was quite amazing. And I'll put in that building here in the background. But I want to try to shift the church maybe to, like, here to see if I can, you know, just get in a bit more of the details. And, you know, at this stage, I'm just looking at this as one big shape and a very loose shape as well. So I don't want to spend all day figuring out, you know, all the little details. This is just A quick little impression. Here, you've got this part that goes upwards with some architectural details. Then you've got this amazing section here on the top that then turns into this detail there. That can be I think that's going to be enough to imply that church off to the side. And let's have a look. I'm going to probably probably try to make this building here look a bit more fancy. Come to think of it maybe a few little windows make it look a bit more like those older buildings to the left. So let's put in the general structure of these buildings. And actually, before I do, what I want to do is put in some of these triangular what you call them shades and things here in the back. There's even a lot of these tents, these triangular tents here, where we've got the kind of marketplace there in the background. So I'm going to put some of that in just to remind myself later. To leave them out, okay? Make them a little bigger. So here's that building here. Here's another building. Let's simplify this down. You know, there's some rooftop areas. And if I'm not mistaken, some of this area in the background is the government buildings as well. Yep. Interesting building here, the side of it there. Then you've got the front facing here and you've got a little dome here as well. It's definitely important building. It's some government building, it might be mental element building. I'm not sure, but it just from memory, there ops fantastic. Some details on the rooftop there as well. The rest of it is just as you can see the sort of o. These little windows running down the side. I've overdone this part here. I want to I'm going to simplify this down to just get rid of that detail and make it more consistent with the left hand side, even though it doesn't really exist in that fashion, maybe I'll also look on this side and add in some of this architectural detail a bit higher up just to balance out just to balance out that left hand side, I I think that looks a bit better. Okay. 22. Kauppatori Painting: Alrighty. So we are good to go. Let's start off with the top of the scene. And for that, we are going to be using a bit of darker paint. So let's get started with the top of the scene. And the first thing I'm going to do is pick up a bit of this cerulean blue. Let's drop in that cerulean blue. I want this to be about 5% paint, five to 10% paint, and the remainder water. So just a nice nice kind of consistency, light consistency that's not going to overpower everything else in the scene. And you can cut around the buildings like this, which is very important so that we preserve the light and the color of those buildings later. So just something like this, as you can see, don't spend too much time on it, just enough to kind of do this Oops, cut around these buildings. If it does go into the buildings, don't worry too much, okay? Yep. Good. It's a bit a bit easier because there's no jagged spots or bits that stick out here. You kind of got to cut around more. Good. Another thing I like to do as well is near the buildings, I might add in a bit more a bit more saturation. But I think that's going to be enough anyhow. I'm not too bothered about that. As long as the top of the scene is a little darker, that can help. So this will just create this sense of depth, just darken the top a little bit Like that. Great. Now, here comes these old buildings, and, you know, I'm going to leave some of this really light, okay? Reckon I'll go with this flat brush. And with the flat brush, we're going to put in some colors, some quick little colors. I might dry this section off quickly first. Okay, so for the next part of this scene, we're going to start going into the buildings and just adding in some colour, a little bit of color. Now, I'm picking up some yellow and just mixing it in with some white to create this kind of off white color. And this is just going to get rid of the harsh sort of whiteness of the paper because these buildings are not actually completely white. They look like they are, but, um, there's a little bit of warmth in them. So I will drop that in even maybe some red. I put a bit of red in there as well. Kate, just also cutting around those little umbrellas and things in the foreground. And this is just enough paint to kind of get me through and getting these buildings in in the background. This one here is kind of a more darker brownie kind of color. Maybe I can pick up some it's kind of like a darker sort of color like that. Drop that in. Not a big deal. Kate. A bit more warmth. Try to more of this yellow in here. This building, especially. There we go. That's better. Now, this one here in the background, this was the one I just made up. I'm just going to put in this general creamy sort of color that I had before. Okay. And we'll make up some trees here, maybe just drop in a bit of green there. Okay, fantastic in front of them. Okay. And then, of course, we've got this building up here. I've got some brown, a bit of brown and burnt sienna. And we'll just put into this mainly burnt sienna. This building here. Let's just color it all in one swoop. That doesn't look more vibrant than the reference, but I'm not bothered. I want it to definitely stand out a bit. The Okay. And this building to the right. You know what? I might just leave it white. Okay, so moving on. But actually, before we do, I think what's important is also to get in some of these rooftops. And I've got this little yeah, this little lap brush, and I can just go through and indicate some of this stuff like that, making sure that it does stick out, you know, it does come out of the sky a bit more. You can see there's all bits of stuff on the rooftops as well. Right. Yep. Looks go a bit too far down. No big deal. Cutting around this little dome. And I'm going to just again, imply this continuation down on the right hand side. It's not really there, but it's just again, like I said, it's just a choice I'm making to keep things a bit more consistent, even though it's not faithful to the reference photo exactly. Sometimes you do have some artistic license to just change things around as you go. The great thing about this brush, as well, is that you can just use the flat brush to put in windows and like this so easily. And, Kate. I'll just do a few more here on this side. Normally I save this till later because the paint will just be too wet to do it. But having some wet and wet softer sort of looking windows is actually going to be interesting. I thought, why not give it a try? There's also the rooftop of this one we'll have to get in as well, just an indication that Good. All right, let's put in this building here in the front and a bit of yellow here. Then on the top, I'm going to mix in some gray ish color. Okay, grayish color. I'm keeping this pretty light, as well. Really light. But it's still tonally, it's still darker than the sky. So you're making sure that this is still coming forwards in front, but not overpowering everything. And I reckon afterwards, what I'll do is actually go over that background, that roof with the second wash to make it darker again. But that's good for the time being. All these umbrellas and things like that, we need to get them in, as well. I'm gonna be using some really bright orange. This is a color called Pyl orange. And I'm going to go through and just have some fun with this here, because these little bits and pieces are actually less so vibrant and orange. There's no point messing around with that. I want those to show through right at the end of the scene. Okay. Okay, this little section here is going to be important. But before I do, I'm just going to bring this wash down the page. Okay, bring that wash down the page. Now this is going to be a tricky sort of scene because the shadow, it's kind of covering part of this whole area, and I'm thinking to myself, actually, do I want to change that up? You know, I can actually change this so that there's less shadow maybe on the building, just maybe coming across here, and then I'll emphasize the shadow on the shades. I think that could be better. Let me just get in firstly the bit of this umbrella, okay? Now, we want a light blue, really light blue, which means we're not using mostly water in here. And but it is a little darker than the sky, this blue. So make sure you are adding a bit more painting for this mix. And the great thing about blue and orange is that they are complimentary colors. So having these two values right next to each other, these two tints right next to each other is going to make the scene actually look a lot better, more interesting. Yeah. Like that. Let's have a look here. You know, these shades, as well, these shades are also blue, so let's get that in. Bit blue there. Bit of blue. For this one here, what else do we have? It's not really that much is there. That's looking good. I reckon around it, I'm just going to add in a really basic gray value, especially underneath these bits and pieces here, gray it off with your leftover gray, really gray is just a mixture of all your other paints. Every single other color mixed together. But if you've got red, blue and yellow, mix those, you're going to get a nice gray value. Okay. A bit of yellow in between here on this block. Yeah. Good. Maybe just use a bit of that there as well, so it's not completely white. The interesting thing about this water is that it's not really 100% blue. It's kind of like a greenish blue value. I can just indicate that here with a bit of green and a bit of blue mixed together for this water here all the way in the background. I actually want to try and make it a touch darker than it is just so that these figures come out more. The heads of these figures come out more, is what I'm trying to say. Um, yeah, it kind of goes all the way down here, and then it stops. But the rest of it is just going to be normal kind of grayish paint. So I'll use a larger brush because I want to hurry this up. And this is just a This is basically just a little flat brush from a little flat brush, but a large flat brush. I'm going to mix a bit of yellow into this gray here as well. So it's a little bit warmer. I also want to mix more water in there. I think that's just a touch too dark, very light wash, it just doesn't overwhelm the entire scene. Okay, let's bring this down here. You've also got this building to the right, which I'm not gonna bother with right now for the time being, all I want to do is just get in this gray colored wash all the way to the front of the scene. It's mostly just water. All right. So that's our first little wash. That's our first little wash. So what we'll do now is give this a little bit of time to dry and then we'll finish it off. 23. Kauppatori Finishing: Alrighty. So now that the page has dried, I am going to start working on these buildings here in the back again, and I need to darken the roof down because it's just not dark enough. If we compare it to the reference photo, that's really quite. You know, the roof does have a lot of extra darkness in there. The good news, though, is that you can still leave in some of that previous wash as well to indicate some bit of light Okay. But here, for example, there we can put in a bit more there here as well like that and stopping just shy of the building here in the foreground. And also, you know, using the little edge of the brush to do things like putting in a tiny, little bit of detailing on the buildings. So little architectural details that you can sort of add in. And if you want, you can also pick up another brush like this rigor brush, little small brush, and that does the same thing as well. So you can just kind of use that to maybe separate, draw out some separations in the buildings here in the background, quick little things like that. And This one here behind does need a bit more. Like that. It's better like that. Same sort of deal, a bit more color there, and I can just put in some windows. Yes, let's do that. So little windows through that sort of back section. And now we can do the same here as well. Bring those out a bit more. Don't have to do it to all the areas, some parts. I would help. Okay. Let's have a look. There are some architectural detail here that's sort of separated out. And I've staffed this one a little bit. It's drawn a line going off on a funny angle, but you know what? I can probably fix that and just make it seem like there's two here, just looks a little bit better that way. And I think that's the trick sometimes with watercolors, you just have to work with your mistakes a to try to erase them or do something different is going to completely mess up the scenes so you don't want to, you don't want to be fiddling around too much once you've added in the details. You know, these little rooftop areas as well. I just thought I'd put in a few chimneys or something there. There's something here, too. It's just little areas, little chimneys and things on the on the top of this section, um, you know, here's another little pole going up. I know they're white, but it's gonna make it faster if I do it in this color. So all kinds of details. I mean, even here, there appears to be some kind of statue that's running through the scene. And I don't think I'm really gonna bother too much with that, but I'll just put in something there. Maybe that just could imply the statue there in the background. Okay? Fantastic. So I'm going to start working on this area now just with the same grayish color. Here in the back. And one thing to keep in mind is that underneath these umbrellas, you're going to get some different varying details. So you're going to have some light, some darkness, bits and pieces here and there. And this is really going to help to ground just add a bit of contrast, I guess, between the umbrellas and the detail in front of it. So Yep. There's also, again, that water that runs behind there. Okay. Let's work on A little details on this church cathedral here in the background. There we go. I could spend all day doing this, but I don't want to just want to keep it simple. You're kind of just outlining parts of the architectural detail. If you think about it, you're really drawing but with a brush. Go a bit more darkness there. Okay, let's start working on the bottom part of this scene, and I'm gonna pick up a mixture of blue, ultramarine blue, and a bit of gray for this. And let's drop this in here. Now, I want this to be pretty dark. And I'm going to go up here and kind of make the shadow come in from a bit of this angle like that, okay? It sort of sharp angle. And this one will come in more like here. And I've mixed up enough paint so that we can do this all in one swoop. Okay. That's the whole bottom part of the scene, and I'm blending this in. I mean, there's this, like, something here like this pole or whatever, box, Great. It's kind of like a bluish gray shadow. And I'm going to start working this shadow into the buildings here, okay? But first thing I want to just do is, again, add in some little architectural details of this area. So that part, you know, you've got some bits there. Maybe this sort of part here that then goes up and then we've got the appears to be like a pole something up the top there. Um, yeah. Something like that. Um, some little quick little details maybe running down the sides, as well. Like that. Let's have a look down here. And of course, we have this these sort of shop windows or whatever below. So I'm going to go a fair bit darker for this here and here and here. Okay. So we've got these three sort of little darker spots and underneath here as well, kind of just goes over the weaves through like that. Okay. But it's just trying to join this shadow on now here to the shadow below. So there's only one way to do this. I'm just going to go for it, Kate. And it's like a silhouette of objects and things here. Can we go darker perhaps? Yep. That. And on the umbrella, it gets kind of like a sharper, dark sort of shadow there. And, of course, on this kind of area here, I'm just going to again go darker. Leave a bit of blue in bits and pieces here, and that one here, I also put in some darkness on the right, but I won't go through all of it just a little bit like that so that it leaves a touch of the blue showing through. Okay. And of course, this one's just going to have a larger shadow on it like that as well. Okay. And the rest of it really is just running downwards. We've got some shapes coming through here. What else do we have? It's just complete darkness almost. I can cut around and just get in some some of that falling through, some of that shadow just coming downwards, okay? And I've also just used this other brush to help distribute some of that paint along as well. Blend it better. Okay. I'm going to add in some of the figures, and all these figures are all just going to be kind of in darkness. There's a lot of gray, a lot of darker paint here so that I can really make them stick out of this stick out of this area. A couple of figures. This, like, fence or whatever there in the background, we've got a person here. Let's just get the legs in like that. Another person here. Maybe another person here. Here. These figures to the left need to be darkened, as well. And I do like to just put in the shadows hopefully while while the paint is still wet. So you can see, just kind of join the legs up and make that shadow go in that direction behind. It's like this little sign post as well here that does need maybe some work, whatever it is. This thing here as well. The figure. Um, I think this little post needs to be brought out better, not post, but this little area underneath here that will kind of make this wall stand out. But And on the right hand side as well, we do have some of this building there, which I will just get in with a bit of brown cut around those figures. Like that. Just a bit more darkening around here to join this shape up so it just looks like the shadow is really coming through. In the background, a little bit of darkness, also, still underneath there could help. This is just some finishing up finishing touches, really. Give it a quick dry. I'll finish up with some little bit of white squash, this is just a titanium white. You can use that as well. And and I'm going to use this to bring out some of the highlights. So on this figure here, this figure there with his hands sort of outstretched, maybe this one here, head and the shoulder region, the back sort of area there. Just kind of make things come out of this darkness because it's a little bit a little bit much at the moment. Sometimes you get the stems of these umbrellas that might go down, like there. Okay. Me these, you know, bit on these figures as well. Yeah. Might help with some little guiding lines running through the scene, as well, like this's separate out that darkest dark area down below, and we are done. 24. Bergen Drawing: Okay, let's go ahead and get started with the drawing for this one. And this is in an area. So this Alright, let's go ahead and get started with this scene. And first thing I'm going to do is just separate it out, so we've got a bit of area here where the ground is. So I would say it's about maybe a third of the way through the page, maybe a bit less, actually. Like that. And it's quite a simple looking scene, but it's going to take a little while to actually draw this in. The easiest part is really just looking at the area of the road. So it's coming in from the back there, and then it comes out there like that. Okay. And, of course, there's going to be all these houses, okay, on the right hand side. I think we'll start with the right hand side first. And there's this one all the way in the back there, but I'm going to just try to I can simplify this down. And this is more like a a quick little draft, I suppose. Now, I've got the rooftop here that goes up even further, even further here, and there's a chimney. There's other bits and pieces there and a longer I don't know what this is another bit of roof, what do you call it another sort of rooftop, chimney there. And the rest of it is just this larger building that runs in front here. So I'm going to go ahead and just draw in the building rooftop of the building. There are little separations as well. There's one here. There's maybe two more, one here and one here. I'm looking for areas where I can just separate out, I guess, the building into little segments like that. This area here I'm thinking of actually making with a lot of light on that side of the building. And then the actual front end of the building here, I'm going to create some extra darkness. The photograph I took was decent enough, but I do want some extra details, okay? And contrast, especially for light. And let's kind of a look at what's going on here. Now, I want to leave enough space so that we've got, obviously, some room for the road, as well. Now, the footpath comes kind of around like this, and then out the corner of the scene there. Alright, it's all dark back there, so you can't really see what's going on anyway. And just gonna have a quick look at that photo. Okay. These things here, I thought, you know what those things are. They're actually bins, and we're going to get rid of those bins. We don't want them there. But firstly, what we can do is start working a bit on, same sort of thing. I think, work on these buildings first. So we know that this other building kind of starts the ones up into the hills start roughly about here. You can see an edge of one there, like that. There there there like that. There and we've got all kinds of details. But here, this building, I need to make sure I get these ones in right because again, I really want to make sure that there is a strong sense of light coming from the right hand side. There's only a few opportunities to portray this, okay, for example, there on the side of this building as well. So, oops, I just want to get the rooftop of that building in. Of course, there's more kind of buildings here as well. It's kind of like the side of another building here. Start going up into the mountains, and you can see there's another one here, and here right there, and they kind of have these triangular rooftops, like that. This one's kind of a bit flat on top. And there's another one up here as well, kind of a sort of Shape. There we go. It's covered a lot by trees and things anyway. Now, we've got these ones here that I was drawing in. I think there's some more if you look at them, they're just rectangular shapes with perhaps a little something on the top, triangular shape there. Something there. This one's like, very triangular shaped like this and just kind of goes downwards like that. But really, for the rest of the rest of these buildings, we yeah want to just make sure that I've got enough space to actually place them in. Yep. Okay, so that orange sort of building that comes in at the back there, sort of looks peeks in from the side, this like there. Then we've got this rooftop. This kind of again building just in front of that really warm looking building. Kate. Great. Of course, there's cars and objects and things below it. That's rooftop of this little uh House, Kate. The one I really want to make sure I get in is some of these ones here. Like, you've got this larger sort of building. I will actually mark this out so that I don't there's no way that I can forget this. So it's kind of like a triangular bit that goes up to the top of the scene, and you can see, like the edge of it even like that there. You got a window. Like that. Drawing these things can often be a nightmare, but you just have to look at it as break them up into shapes. You know, I look at that and say, Hey, that's a triangle. You know, that's a triangle. That's another triangle. You know, this is a kind of semicircular type of shape, for instance. Okay. Let's separate this building out into the 43 quadrant quadrants, but three sections. There's the door, I guess, I can put the door in there because we know it's got to be there. So windows. These windows are tricky. There's so much going on in here. So I'm just, you know, if you look at what I'm doing, I'm just putting them in very loosely. There's another one maybe here. Oops, there, and then another one here. Great. Another two sort of windows then, a couple of squarish windows there. That's gonna be enough. I know it doesn't look like much, but for a quick sketch, will be fine. And I do like this structure here, this blue building. Look at that amazing little blue building. Then the houses just look amazing. There we go. There's also some windows there, you know, just another couple of oops, one, two. That should be more here, another one here. There we go. That's another sort of building in the middle. And then we've got a few more. You know, I might have to just skip one out, but there is a triangular, like structure here as well, little rooftop of that other building. Maybe we can stick the other one on here as well, like that. There we go. So we've got a decent little indication, that's for sure, all these buildings. I should maybe make that one a bit taller. That's better. And now I can actually go in and put in this line, sort of general tree line here in the back end it off somewhere here. Okay. Great. And all these windows and stuff we can actually get on afterwards. I'm not bothered. Now, the cars, let's put in. There's a car here. Let's get in the general shape of it first. Like a SUV of some sort, funny looking car. It's not a big deal. Just got to get in something that looks like a car. Thank. That. And there we have it. We've got a little car just sort of parked there, and there are a few more behind. You know, it looks like there's some kind of van here as well. Um some sort of van there. Doesn't look great. I'm gonna re draw that. I Okay. Bit better. Of course, you know, there are these bins and things here. I don't like them. But what I think I might do is maybe put in some shades. I'm pretty sure there were some shops. There were some little shops here. So maybe there were these little shades. I'll just make them up, even if they're not actually there, like that. And you're going to see the duck, sort of shadow shape running across this entire building, as well, which we will get through afterwards. But, yep, let's do this car the windows and this little window there at the back like this. Here, there will be a shadow underneath this car, too. And, of course, you know, there are some other shapes and bits and pieces behind, which I'm going to imply, but really for the sake of this scene, I'm not gonna bother with all the little details of those cars and things there. As long as I've got one car there, I'm gonna be good. Now, I want to change the location of this figure. I'm going to put the figure here. And the reason why I'm doing this is I just think the figure looks too central in the center here when I took the photograph. So putting the figure here on the right hand side is going to especially further down, is going to help me create this nice shadow running to the left for the figure and also create a bit more balance in the composition. So it's not all, it's not all over the place, and the scene isn't just detracted by this figure standing right in the center. There's one person there. I don't know whether I want to put any other People. Um, it's tricky. I'm tempted to I'm tempted to do something, but, um, maybe I can put a person here next to the car like this, walking around. In the in the distance. This one here, I can increase perhaps two people, seeing what else could I do this person could just be walking on the path, for instance. Like that, they're walking past each other. There we are. That looks better. Okay. Kind of walking past each other. We've got a third one there. And these buildings could do with a bit more detailing for the windows. I'm going to just continue to change up these windows and make them more detailed. They they really large windows, and You know, remember to follow the lines, these little guiding lines on the building so that the perspective makes sense. As well, this looks to be the door behind here. Perfect, because the figures right in front, so it's going to help to bring out the contrast of this figure because I think I'm going to get the light source to come in, yeah, come in from this sort of angle. Yep. I think that's going to look better. I want to make a bit more light in the foreground, maybe a bit more light on the buildings as well. Sure that figure comes out of the darkness? Okay, another sort of something here, here, there as well. The Here here. Okay. And again, just separation of some of those buildings in the back. Okay. Looking decent. Alright, so I'm just having to look around to see if there's anything else I need to add in suggest, you know, maybe there's another house there, like center, another shape here or something. But otherwise, I think this is pretty much pretty much good to go. 25. Bergen Painting: Okay, so I'm going to start off with a bit of cerulean blue or the sky, keeping it pretty light and cutting around these houses and also a bit of those mountains, but it's still pretty light. It's about 5% paint. Rest of it is water. And we'll cut around these chimneys, as well. I think it's important to just leave some of the white on there. There we are. That's it. Not much sky in there, actually, so it should be pretty good to go. Okay. And what should we do next? Now, remember this whole part of the scene is just looking at basic values, basic colors, okay, really light colors as well. So we're not bothering with much details at all. I do want to put in a bit of blue for some of these windows. So just before I forget, just a little bit of something in there to get started, and then I'll go in and add some more of the warmer colors in a moment. Okay. There, there. Good. These little green areas in the background are going to be important as well, so I'm just going to add in a bit of darker green and where that edge of the mountains and stuff just sort of end. So a little bit of that is going to be crucial and let it kind of mix upwards. Okay. It's kind of dark green color. Okay. And another thing I really want to do is just make sure that I've also got some lighter greens in here, not just all the darks, okay. I'm very careful to cut around everything that's in here. When you paint with a larger brush, you can paint a lot faster, but you just have to pay more attention. So some more yellow in this green, little bit of yellow ochre and a bit of also uh maybe the yellow ochre will be good, actually. Don't want it to be too vibrant. Running through here, as we move down the page, I'm slanting the paper down a little bit, just to try to encourage the water to move down so that I don't have too much running up and forming going into the sky, I suppose. And, you know, as you can see, I'm just cutting around these buildings, keeping it pretty light, but, you know, just cutting around them like this. You know, there could be little houses, back there. Okay. But as we move down the page, you know, I'm just taking a bit more time to make sure I'm cutting around these buildings properly because it's tricky. It's very tricky. And you can accidentally paint over things that you don't want to paint over if you're not paying attention. So you only get one chance. You can't really bring these whites back. I mean, you can put some guash in at the end, but it doesn't look as crisp as if you leave it out like this. Okay, and then just bring this further down again. Yeah. Maybe a bit of extra darkness running down here. And in areas like this, here and here, here, Here. Well, okay, so it's pretty dark down at the back, and that's good cause now it's sort of giving me an opportunity to cut around all that extra extra detail. Um, Fantastic. Fantastic. Now, this is all starting to do its thing. It's probably going to, you know, it's going to dry off and do something. But what I want to do is start working on these buildings to the right. And again, I'm using some yellow ochre for this warmth on the building. Okay, just to get a bit of warmer color on that building. And the blue bits have already started to dry, so I don't need to do much, just kind of cut around them like that. And in here, as well, this part of the building, I think could do with a bit of um, kind of creamier yellow color there. Here, as well. There there Okay. These ones in the background, I reckon I'm just gonna leave them as is. And I like the contrast of all the white there, so I don't want to touch that. Bit more brown. We've got some bit of this tiny bit of what you gonna call it? Burnt sienna, little burnt sienna. I'll leave a touch of white on the edges so that it doesn't mix into the sky. But yeah, just this sort of cutting around work is great, leaving the edges exposed. Now, this building to the left, we really need to work on this one more. I'm picking up a bit of yellow and mix and mixing in with some white. And let's go ahead and do this there. And we'll bring a lot of this downwards. And I'm just trying, as well, to kind of indicate the frames. As you can see, the frames are of this sort of creamy yellow color. And I can do this with this, uh, this sort of creamier color spots that here, here. I mean, the rest of the building is kind of like a reddish brown, so a bit of red and a bit of brown. Let's mix that together. So then I've got this sort of color. Might be too early to actually mix that in, but I don't really mind. For most of it, I can just get this in to indicate really the details of this building. Yeah, if it runs through, I'm not too fussed. But, yeah, you do have some of that color running through the building. Oops. It doesn't matter. It is more brownish, actually. Let me put some more brown through there. That looks too much too reddish. And the rooftop as well needs to have a brown color on it, as well. So let's just do that. Okay. Fantastic. Yeah, this building to the right starts to get interesting. It's kind of bluish. What is it blue? No, it might be a lavender color, actually. Let's put in a bit of that. I've got some lavender. It is similar to cerulean blue, but it's like a lilac sort of color. Why not just let's just do it a bit of that lilac. Running through Amazing little sort of colors. Oh, no, let's put in a bit of pink here for this one. Just a light wash of pink, and I've made that by mixing white and a bit of and a bit of red. Okay? This building then starts also looks a little bit kind of reddish, so I can just drop in. It's like a pinkish color more, so here. And I'll keep putting on some more of this a little bit of this color, which is burnt sienna. Any kind of brown, light brown color the rooftop area. It's good bit more kind of a white color here, creamy sort of color. Okay, now this building the background is definitely more of a yellowish tinge, so I'm going to drop that in there. Okay. There's definitely more of a yellowy tinge there, but I don't want to go too saturated. I've done that kind of, but something like that. Just that doesn't stick out too much. Down the bottom, I think we'll go again with this maybe lavender color for these buildings. I think I think that might be it for the base color for these buildings. Do we need anything else? Maybe for these ones here, I could go, actually, I might leave those. I might leave that building. It looks fine. The ground, I'm just going to mix up a gray color, which I've already got anyway on the palette. And let's just drop in that kind of like a grayish value. And I still want it to be pretty light, by the way. Okay. Good. This should dry off nice and light at the base. And I'm also going to put in maybe a touch of color for this car here, like a cooler, bluish color of some sort, cooler gray color just so that it gets rid of the white of the paper. Like that. Now, the cars in the background, I don't think I'm going to really bother with those. Maybe I'll color that we in like that, but we can just leave those kind of a suggestive thing. How about the people. How about the people? Well, I don't really have to make that decision just yet, actually. I can just leave this to dry and we can come back to it and decide then. 26. Bergen Finishing: Okay, time to get started on the shadows and all the other interesting areas of this scene. And what we'll do is spray down part of the paper purse. Now, just to keep this, make it fast. I'm going to spray this side. Some part of that side. Um, what else do we have? Maybe here, okay? And the whole point of this is just to dry and essentially create some softer shadows. Now, I like to just mix up a bit of warmer colored paint. So I've got some brown and also a bit of a bit of gray. Just mix that up, and I'm going to drop that into this section of the scene here. Now, let's have a look I want this to be dark enough. So more neutral tint or gray. Yep. Not that dark, but getting there. I'm going to bring this down into the ground here. But of course, you know, sort of cut around some spots as well to just leave out some highlights and pieces, bits and pieces. Okay. I try making it like a kind of a darker version of the color that's already there. Okay? And if I can just do this in one wash, this is going to save me a lot of trouble. It just makes it easier. Okay. It's large shadow shape. And the rooftop here of this building does need to be a little darker as well. So I'm going to pick up some brown darker burnt tumba. Let's just do this. There we go. And going to look at the side of the building. Now, here is where I kind of want to make sure that the doing this right. I'm going to just pick up a bit of darker value here and just go into the side of this building in front, okay to just make it darker. Just try to imply that sense of light on the side of the building there. And remember, all these buildings, they kind of just blend together anyhow. You know, this one in the background, I'm gonna pick up a bit of this gray paint, and let's just drop that in here. And here, well, bit of this reddish value there, and maybe there. The rooftop. That the side of the building, there may be maybe draw it onto this side of this other building. The rooftop. They're tricky little scenes, or shadows, I mean, just get in Rooftop is going to go a bit brown, sort of colored, same with this one. Over the top here as well. B sort of brown rooftops. Yep. Just making sure that I've got a bit of darker values for the rooftops is important. Okay. This should all kind of go down. And I'm going to blend this into the shadow afterwards underneath everything. But before I do that, it's going to be really important to make sure that I get in all this other stuff as well. Some of the shadows and the darker sections of the trees here in the background. So, for example, I can just get in a bit of this this sort of green there, darker green. Let me just pick up picking up really some neutral tint and some green, mixing it together. So I've got some real dark values here that will kind of bring out the rooftops and areas of these buildings. Not all of it. We just want to yeah, kind of do it to some areas. You know, around this sort of area as well, we can just do that. Some of this darker green. At the same time, you know, you're leaving out, you know, you're leaving out some of that previous wash, which is so important. Um, But contrast extra contrast is really needed in some parts especially some of these buildings here that need a touch of darkness surrounding them. Okay. Underneath this building, there should be some extra darkness. There, there. The rest of it, I don't need to do too much. I can put in a bit of yellow mixed in with guash, and some of this is just to kind of bring back a little bit of a tiny bit of light. But I do like to just wet that down a bit more. Okay. Lift off a touch of this paint, as well, so it's not too overpowering. I want to contrast, but also some of that previous wash to still kind of show through, possible. Okay, flat brush and a bit of purple and a bit of darker sort of paint. I just want to just get in that car in a lighter sort of value before I go through with that large shadow. And it does help me to also work on some shadow sections like behind here, that's got to be kind of darker. There. Oops. Yeah, that's like the ledge. There this section here, I think I'll darken this down more. There. Just to create a bit of darkness. What else do I have this section like that, this rooftop. Um, these little just darker parts of the windows. And you can spend all day doing this, but I'm going to just simplify the windows down to just the basic shapes themselves like this because I don't want to spend too much time on them. There's actually a lot more detail in these windows, of course. That little section there's going to be darker. There's even a darker shadow here behind this kind of part of the rooftop. Yep. And let's go and put in some more of the windows here. Little the same um, kind of perspective. This one hasn't been done so well, but that's passable. And some more kind of windows, you know, look, just, again, go in and put a few lines. Yep to simplify this down, it's just gonna be easier. Trans probably have to do this again once I go through on the shadow because it might eliminate some of the light. Yep. Great. These little windows here in the back as well, these tiny little houses that have windows there, and, you know, here look at that. I can just indicate that. Okay. I'm just going to go over this whole thing with a large shadow shape now coming from the right hand side of the scene. I'm using purple, a bit of blue and a bit of Pain's gray to create this sort of shadow shape, and this is going to blend into this building from the base of it here, right? And we're going to get the figures, the legs of the figures, hopefully there at the same time. Oops. Okay, coming in from that left side there. Large brushstrokes. Um, It's kind of coming all the way across to hit these buildings, and you've got kind of darker sections underneath like that. Drawing it up at the back a bit more. It's tricky using this large brush to do this, but it's so much quicker. All right. So we got shapes some shadow shapes on this building, and I want to make them soft so spray that area, and then I can just drop in some shadow shapes there and kind of carry on this shadow pattern further up like that, just so that it looks like one big shape coming from the right. Okay. I think what I might do is actually get rid of all that light down the base completely. It's just looking a bit disjointed. And it looks nice as the photo, but I think it would be better if we just darkened off completely below. Um, I think that looks better. We can still get some shadows of the figures and that kind of thing in as well. Okay, let's give this a little dry. Okay, so some final finishing touches on this scene. And really for this, I'm going to be picking up really dark colors. So I got some black here. And we can just start putting in some final details for the windows of some of these houses, maybe, like, little shadows as well, underneath the rooftops and things. Anything that you think you want to bring out This is really the time to do it. Like this car, for example, I've just put in some details for the wheel. The wheels here, maybe the underside of the car. Um, it's all going to be dark at the back. Yeah. Anyway, you know, bit of darkness underneath the car. Something back there. Extra darkness in some spots. Again, just to bring out more contrast the buildings. They just like the darker spots of the trees. You know, some of these windows as well, I can just put in detailing for some of the windows and smaller details running through them like that. You don't have to, but yeah, just for some of them, I think it helps. Bit of the perspective of the building, why not like that. Sometimes the quicker you do these things, the better they actually look, not always, but, you know, as long as you're still exercising a bit of control, This area here behind this figure is actually really dark. I'll just color that in almost black. There we'll make that figure pop out better. The frame of the door like this maybe. You know, just tiny bits of detail. Anytime you see a sharp edge in the photo, you can just do this and kind of paint in the little 20 bits and pieces. Now, the legs of these figures, I really need to get them in quite dark. Okay? So that's one. And that's one. I don't know, it kind of looks like the person might be walking into the scene. And this was one when I was trying to make the person look like they were walking This one walking in, that one walking out like that. No, out and in for this one here in the front. And I think I put the shadow on the front as well, join up their legs. There we have it. Looks decent. Just adding a bit of colour or their shirts, whatever, or you can just leave it white, as well, if you want. I think I'm going to dull it down a bit, though. Ad some blue for this person? Okay. There is also a person back here. I forgotten about this one standing in front of the car. Okay, so maybe a couple of legs there and maybe There we go. Little shadow running to the left. And again, just some more detailing for these buildings, we can put in some quick little marks here. Underneath these buildings, I thought as well, I could just get in a bit more of this shadow, 'cause it's actually maybe a bit darker underneath here that I just made up before soften off. Touch, as well. This can also be like a path running into the back like that, kind of like how there's a path here. Yep. And maybe some more perspective lines. There's some, like, bricks and things here as well. I don't really feel motivated to paint in all these little bricks, but, it might be okay to do a few here and there. Oh. Some more windows and things that I can, uh, try to put in. Couple up there. Bit of red maybe for the faces of these two, three figures. Mm. Yeah, just really trying to add in a bit more darkness in this section because I've noticed there's not really much darkness in the front sections, but there's a lot of darkness in the back areas. So this is kind of needed to, I think, anyway, to balance out the scene. You've got too much darks in the back and too little in the front. The eyes just drawn straight to the back. So some of this stuff, this is why I'm doing some of this stuff, very loosely, of course, not too much And just a touch of that white guash. Well, it's really titanium white paint that I have, but any light sort of colored paint is going to do. And I really want to just get in some final highlights and uh let's just get some of that paint. A lot of it onto the brush. I got a little round brush. Here, we can start with the head of this figure and maybe the back there. Just, you know, emphasizing the light coming from the right hand side of the scene, coming down the leg as well, perhaps there and here this figure here and the right shoulder. Okay. This figure here, there and the car, of course, a little bit of light running across the back of the car. Can't forget that. And some of it running through the buildings, why not, right? Because we've got so much darkness in here, a little bit of this light can kind of help to actually balance it out. Um, it's not all too much I want to do, though. Just a little, you know, touch here and there, 'cause it's very easy to overdo this. Fattic and we are now finished. 27. Stadshuset Drawing: Okay, let's get started on this scene. And what I've done, actually, is I've zoomed into this reference photo a little bit, just so that I can eliminate a bit of the top and the bottom of the scene so that we don't have too much sky, we also don't have too much water, but mainly just to eliminate the sky so that we've, yeah, basically got less sky. And, uh let's go ahead and put in the roughly the line where those buildings at the back end. So I'd say it's around about here, okay? So amazingly beautiful night, as you can see this glow coming from the horizon, horizon line there. And I'm going to just draw that line in. And also, there is a section here, right through the center of the scene where you've got the building to the right. Okay. And I believe this is the buildings that are right is a series of royal buildings. I'm pretty sure I've probably got to double check, but yeah, it's quite amazing. And I'm going to bring this sort of area here out, and I'm going to go ahead and draw in the part that touches the water here. This all going to be pretty dark. But of course, you've got this bit that kind of comes in here like that. And everything on top is pretty much is a bit of light there in the corner, okay? But apart from that, you've got the actual building that goes up. And I'm going to simplify this, too. I don't want to spend too much time on this, especially because we've got a silhouette. So let's just get in, like, the general shape of it first, and simplify that down to the Top of that. Structure. And it's kind of parts that stick up like this, like that. And then you've got another sort of part that sticks up here. Then you've got this kind of elongated structure like that. Okay? Fantastic. And then the rest of it is just pretty simple. I'm just going to make it go upwards like that. Okay. C actually benefit from just elongating this structure a little bit. Get away with this because a lot of this is going to be in the darkness. Okay. Raise that just a bit so that I can elongate it. There we go. Good. It looks a bit better now, and I'm just going to put in a few little bits and pieces on the rooftop. Now on the sides of the buildings, you've got some areas here with these sort of areas that are lighted up there, like for the side of the building. You know, you've got this one here. You've also got some darker parts that you can pop in as well, like this. But really, if you look at it, building kind of comes across there and all across leaving a bit of light in the front. But there's just all these little sort of archways here, where there's a bunch of lights, and I'm just simplifying this down. There's even, you know, some other bits here. You've got some, you know, bit of light coming out there from a couple of the windows. You can just sort of a bit of perspective lines there as well. Maybe down below. You know, the other windows are all kind of in the darkness, so you don't have to do too much with them. I can figure that out later on. But some of the ones I'm drawing in here are just to kind of remind myself not to paint them in, leave them until later. And, uh, Yeah, I would like to get some reflections as well running down the page. So we'll have to do that as well. Now, all this stuff in the background here, there's a lot of these lights and details here. We can't see all too much, but what you can see is this bridge here in the distance. So I can just kind of imply that bridge like that. The end of the bridge maybe there. Okay, it kind of comes onto the land. The right Okay. So trees here, a bit of reflection running down the page there as well. A lot of this stuff we're just going to imply. So we're going to draw in the Sad whose now, which is this kind of tower. I'm going to shift it over to the left a little bit here and also make it taller. And the reason for that is I just want it to look more obvious in this scene. Okay? So obviously, it's in the dark so you can't really see all too much in there. But you can see the other tower to the right. You know, there's buildings to the right here as well, and there's more buildings kind of in the distance and some trees, maybe some buildings here as well to the left. Okay. And Basically, you know, you've got some windows that are emitting a bit of light, a bit of light coming off there. Sort of a bit here, quick little. Okay? Now, I'm going to zoom in. I just want to check the top of this tower because it's kind of tricky here. Then we've got the edges here coming out like that. Coming up, forming this sort of shape there. I got three pillars here, so one, two, three, like that. Closer together, actually. Join up. Oops, this. Make this top section a bit closer together. It's just not doesn't flare out that much. Reposition these two little windows there. It's so important to get this one in at the back. Yeah, this tower in accurately because that is such a central part of this scene. Okay, fantastic. And I know a lot of this is really going to be quite dark. But it does make a difference. Okay Okay. There are lights just these poles and stuff running through the scene here in the back as well, these sort of light poles that are, you know, which kind of interrupt in places here and there. I'm just going to draw some in to remind myself to leave them out. But, you know, I think we've got a good little basis now, the bridge there in the back. And the great thing is now we've also got to put in these reflections, these reflections of the light reflections of, you know, light coming from above in the buildings. This whole can be kind of joined on to the right hand side. One big shape when we paint it. Okay, let's go ahead and get started with the painting. 28. Stadshuset Painting: And I reckon what I'm gonna do first is just get in light. I've got some yellow, really bright yellow. Um, I probably should use some of this coronacridon gold, actually there. Unfortunately, I've actually got a bit of green on it. Tissue helps to just lift off some of that paint. We really want to make it quite bright and vibrant. But the gold will look better, this Conacrodone gold here. And check this out. I'm just dabbing it on in some areas. I'm not even concerned too much about the accuracy of this because later on, when we go over it with some darker color, it's all gonna stick out anyway, okay? Me cacrodonU the top here, maybe. Yeah. And some here on the base as well down there. You also do get a bit of reflected light on the building itself. So if all else fails, just go into the entire building and remember, this looks really messy at the moment, but once the rest of the colors go in there, once the darkness is in there, it's going to make much more sense. Okay, I'm just dropping in a bit more vibrant yellow in some of these areas as well. Maybe some acridone here in the building in the back like that. Okay. Great. Of course, some of these ones here. I do like to use some lifting off techniques as well in the end, so it's not Yep. Little bits like that. You can't go wrong. Fantastic. Now, what I'm going to do is start working on the sky wash. Okay? This is all dry off nicely. But I'm going to use a large flat brush. The top of the sky is a really dark blue and almost like a grayish blue, so I'm going to drop in a bit of gray into that blue, as well, like a pines gray with ultramarine blue and start off the top pretty dark. Okay. Uh and you can see just I do need to mix up more of this paint. It's tricky. These flat brushes don't hold a lot of paint, even though they provide a really nice crisp line. They can be frustrating at times. Okay. It's not much saturation. This color. A lot of it is just, you know, purply bluish color up there. But as I move down the page, you'll notice I am going to add more blue in there. But, look, I'm just cutting around some of this stuff on the rooftop first. And don't worry. You can leave a bit of white there. Check that out. See, I've left a tiny bit of white in some parts, okay? Now, the goal of this is just to make it all the way down and slowly, slowly put in some lighter colors as we move down the page, okay? And you're trying also not to let that edge dry so that you get a nice nice, sharp, nice sort of smooth transition, I mean, downwards. But around these buildings, you do want it to be quite sharp. Okay. It's tricky because you also you kind of got to spend a bit of time to do this. But you don't want that paint to dry off. So as I'm moving down the page, I'm just going to pick up some more blue, maybe some cerulean blue mixed in with ultramarine blue here. And let's go ahead and blend in some of this stuff here, blend in some of this, and move down the page like this Okay. All right. And as I'm moving down the page, I will keep adding in more color. Okay? But as we kind of get to this point, I'm really thinking I'm going to start putting in some some little reds or a bit of warmth here on the horizon line. Okay, so I've got a bit of red here. Pyral red. I go to pick up a touch of this color and drop some of it in really light here to get that to blend. Okay, with that bluish value. And then I'm going to pick up a little bit of yellow ronacro gold and drop some of that in at the base. And we do have to make this pretty pretty light as well. Alright. Good. So I've got a bit of this sort of sunset twilight effect, I guess, okay? And hopefully this will kind of blend a little bit upwards, or if not, I can encourage it to blend upwards, blend together like this. Okay. I'm going to drop in some darker values, maybe a bit of a cloud or something here. So just around the edge. You're going to drop in something here, maybe. This is just a bit of darker paint. Okay? And I'm using a thicker concentration of paint, as well. So less water. And this going across. And I'm kind of strategically using it near the tower so that it will stand out more look more kind of stark and contrasting against this these little clouds here. Kind of attempted to make the top a bit more a little darker as well, just dropping in a bit more darkness. But, you know, the issue is that some of this has already dried off, and so you're really being trying to be quite careful here. Yep. Great. I just want to lift off some of this a little bit of that color so that it is lighter at the horizon in the horizon line, I mean, Just lifting off some of that paint. Great. Now, the next bit is quite interesting because we need to get in, I guess, the reflections on the water, and we need to get in some of the darkness, as well. So I reckon what I'm going to do is start working on this bridge first with the flat brush. Actually, I might have a smaller flat brush this. And just working a bit on this bridge. Okay. It's kind of, like, pretty dark, as well. It's almost like the darkest value you can get. I can't really see that bridge so well, and so I've had to sort of make it up part of it anyway. All right. Good. Um, I went behind that building. It's actually kind of like a little bit of light coming through there, I lift off that paint. It's like, brighter there, actually. Okay? Just testing that area. It hasn't completely dried yet. I can't work on that. But I can work on this building here to the right. And also some of this stuff here. Yeah, I think I'll work in the building here to the right while this stuff dries off a little bit. Now, we need a lot of darkness. And if I got a smaller flat brush to do this with smaller flat brush. This needs to be pretty dark. Um, almost black, really. Dropping some blue in there for good measure as well. But here we go. So this is going to stick out of the sky. And that's the point of it. We want it to really come through. And, you know, we've got this sort of stuff, this top part of this, tower and some architectural details, okay? Kind of like coming up here. I'm not even sure exactly what I'm painting, but you don't need to be. Just got to look at the shape and replicate that shape, okay? That's the main thing you're trying to do here. And I'm going to bring this down noticing how I've left a little bit of this yellowish paint here and there, okay? It does look a bit more dramatic than the reference photo, but it doesn't matter. It's, um, You can leave in a bit of white for, like, a window as well, you know, if you want to really emphasize the light. But you see that one, I've cut around coming down the page, I'm going to cut around this window here, and may be a larger window there as well. I don't like how this is spreading into the sky, so I'm going to mop that up a little like that and hope that doesn't run anymore, but still creates a sharp edge. Okay. Moving downwards and, you know, again, just sort of cutting around some of this stuff to indicate the windows. There's some more windows here to the right, as well. Let's cut around these. Okay? More windows that we can imply, sort of cut around again. As we move further down, I find this is the section of the painting where you want to start lightning this wash a little. The reason for that is because you got a bit of light that's resonating through and kind of here, you see the lights just starting to go upwards more. So I'm just lighting that wash touch as I bring it down. And then we're going to sort of cut around also these other little sections. It would be good if I actually put in a bit of warmer color, a bit of brown, sort of a wash brown kind of wash running through some of this stuff. Okay. Another archway there, here, here, here, you know, look at that. Keeping more warmer wash. I've just added in some brown here to, yeah, just emphasize a bit of that light that might be bouncing upwards, because it's close to the bottom of the building, okay? And the bottom of the building still you know, I'm still putting in some darker yellows and that kind of thing. Okay, here. It's really just a little line of something here, there, like that. And then the rest of it is just really dark. It's just the same dark value that we had there before. So gonna go back into their really dark sort of value can pick up another brush for this. That makes it easier. Kate, Now, what I want to do is just start to actually brings some of these colors down. The reflections of the windows and stuff like that. I think that's going to be an important thing to do. But before I do, let's just quickly I just want to make this darker here, this bridge. It should be more obvious to see it like that. And all this stuff at the top, it's um it's pretty much I'm able to paint into it now. I think it's dried or more or less dried, I can give it a driven. Okay, so let's get in that tower at the back there with a dark, really dark sort of value. Cut around these little bits of light. Wards, this building next to it, as well. Get something like that in there. Actually, there should be some light coming through it. So I'm going to scratch off some windows there. Which is another technique, by the way, you can just sort of scratch out colors the previous wash. Look at that. There's just so much in here. You've really got to get it all in one swoop. Otherwise, it's just going to be way too overwhelming. I mean, this is like a large tree or something here. You know, it's just darkness, really. But then you've got the bridge below, you know, cutting around some of this stuff as well, you know, joining it with the bridge in areas. Okay. I don't want it to be all complete darkness in there. A lot of it just you're making stuff up, implying detail in there. Et's have a look at this. It's looking right, isn't it? Now, what I got to do is the top section now, but, you know, I'm really just being so careful to get this in accurately. It's difficult to do little edges like that. There it goes up. There. Then you've got some details up here as well. So I'm going to just see if I can simplify this down like that. 29. Stadshuset Finishing: Okay. That looks alright for the time being. I'll probably need to I'll probably need to just touch up on it afterwards. But that's a decent for the time being. Now, like I was saying before, we want to get some of these sort of lighter colors down below. So I'm going to pick up some yellow and just do stuff like this, you know, drop that in kind of like a downward downward sort of motion, maybe some less vibrant color like this Conacrodon gold. Yep, bringing this stuff down the page anywhere that you think might be an opportunity to get in some of these little reflections, this is great. Okay. You know, there's lots of it really all over. Um I'm even making some of it up. Oh, yeah, you got to put in a good amount of it because you know what's going to happen. A lot of this is gonna just kind of disappear. Oh I'm going to make it disappear anyway through this water down below. Okay. So let's go ahead. I'm going to grab another flat brush here. Let's mix together some cooler color. It's gonna be darker than the sky, but not as dark as the buildings in some areas. So let's just drop that in there maybe some darker value as well. A bit of orange. If I mix a bit of orange into this blue, it will kind of neutralize it a touch, as well. Okay. And what we're going to do is see I'm just touching onto that yellow in areas, just on the edges of it and carrying this wash down. Okay. In some parts I preserved it. It's tricky. But it's the only way to get this soft wet and wet effect of the yellows. Moving down the page. Okay. So more here, maybe. There there and look at how I'm angling the paper as well. That's really making sure really making certain that the paint runs down the page. A bit of purple, I think could be good. Just drop some of that purple in. If not have missed out on some of that. Yeah, they here, maybe here as well. Okay, good. Fantastic. Even the bridge itself, you know, you've got to remember that there's also darker reflections. So I'm going to pick up some really dark color and just add in underneath the bridge a little reflection unneath there there and there. Okay, with a bridge. And also with some of the details like this tower there's a larger, maybe a larger reflection here, maybe a larger reflection for parts of this bridge. Okay? But maybe some yellow running through it here, why not as well. And I'm just trying to pick up some real dark paint to reemphasize some of these areas. Like this needs to be quite dark here to make sure it pops out better. Okay. Fantastic. The rooftop. Also here could do with a bit of extra darkness, like that. Top of that tower there, what else? You know, even this tower could do with some extra darkness as well. Okay. Little areas to touch up. I'm going to start putting in some tiny details for these windows that are in the dark. And also, you can see on the sides of the buildings, there are these little kind of guiding lines and areas, we call these little perspective lines here also. Let's see if I can actually also lift off a bit or scratch off a little bit of paint in spots Maybe these are like these traffic lights, not traffic lights, the street lights in the back. Scrubbing off some of this paint here. Shouldn't be it should kind of be lighter in this spot. You can also do the same down below, if you think area should have a bit more contrast or light. You can scrub that off. But this here does have maybe some trees or whatever in the distance. So get that in. But at the same time, leave the bottom lighter there. Yeah, so from this point on, it's just small details, little little bits and pieces. Okay. So you've got some windows here, some darker windows. You know, you've got, for example, these areas here that kind of these frames, these door frames, you know, there's actually some little architectural details within that you can emphasize if you'd like. In areas, it's not necessary, 100% necessary, but I find that it does, I don't know, it gives illusion of detail in some parts. Doesn't mean you have to do it through the entire thing, but just to some of the windows, you might want to essentially detail them a bit. This Okay. I just gonna try to add in a bit more up the top here and just some spots desperately needs a bit of darkening in some areas, but that should be okay. Short bring this down more. Well, yep. Here's my little fiilbet brush. This is all started dry off nicely so I can go in and start to if I want, actually lift off a bit of extra paint. Just rubbing onto the page and lifting off. It's not necessary, but it does help. Where else could be potentially lift off. What I'll do is just dry it off first. Now, back to that lifting off technique. So what we need is a bit of water. Like that and rub the brush over the surface of the paper where you want to lift off, and then just touch on with the tissue paper. There are some parts like here I want to lift off a bit, you know, bring back a bit of light or something there, maybe soften a section. What else? Like here? We want to maybe soften that and lift off so that it looks like there is a street lamp there. Street light. Yep. Coming through, there could be another one here, just scrubbing off in areas. For some reason, that bit won't scrub off. It's just something in the way. Doesn't matter. No, big deal. I think I scratched that paper a little bit too much before, so it's not happy with me. I can lift off a bit of light here underneath as well. Okay, because we do need some light on the base of the building and for some of this to kind of blend because there's a lot of sharpness back there. Okay. It also creates this sort misty feel to it, if you notice, a little bit of this misty kind of effect, which I quite like. I should be doing this with clean water. I'm just using whatever I've got. Um, you know, if you do it to some of these areas as well, you can, like, get windows and things to show up just by lifting off, uh, you know, even little line or something like that, as well. Running through part of the building, you might say, want to lift off a bit of this. Yeah. Okay. Maybe here you want to lift off a bit of paint to bring back some light onto the building itself as well. You can just lift off, rub on the lift off like that. I don't want to lift off too much of that paint, though, because, yeah, again, that's the magic of this scene that has a lot of contrast between light and dark. But I'm just trying to blend this a little bit more efficiently. Okay, down here, there's a bit of mess. I'm going to again, just move that brush down, lift off some paint. Look at that. Look at this. You can get more of that light coming through the scene, the effect of that light. Scrubbing on and patting that tissue paper through this bit of light here. I mean, there actually should be a sauce up here as well, I'm carrying down the page. So that's something. Now, of course, we can do this to the entire thing, but I really have to be careful, as well, not to overdo it. Now, this is very tempting to just lift off all over the place. But we don't want to do that. Okay? Just want to do it in some places here and there. Okay. Fantastic, and I think we are finished. 30. Gotland Drawing: We're going to get started with the drawing. And the first thing I want to do is separate the sky from the Earth. And that's roughly in the center of the scene. Right down the middle like this, actually, it's quite convenient. Except the houses are a little bit further down, but, you know, roughly there, you should be good to go. Okay? Now, I think the next step would just be to get in this path, and you can see it sort of starting out the distance, comes out there, and then you've got part of the path running over to the left, right here. I forgot my bearings, right. And then we've got a bit of this path extending out downwards here, and it just goes through the center of the scene. Okay. It doesn't have to be perfect. Just a little indication of it. It actually goes out a bit further, like here. Good. And, you know, we'll probably just erase some of these stray marks as well. These are just guiding lines not set in stone. Okay. There we go. That's your path. That's your path for you. It's pretty light right now. I want to keep it that way. And we've got the house actually over here, and one of the decisions I was trying to make was the shadow on this house and also the kind of three dimensional nature of this house. It looks kind of like you're facing directly to, but I want to make it look like there's more of a side. And so that way I can get in some light on the side of the house. So in order to do that, I'm going to just change the perspective a little bit. Okay? So the make it come up like this, so it's just this, you know, kind of like a boxy shape there. And then you've got the top part of the roof here and coming down like that. And there's that kind of window there. There's some shrubs at the base. I don't know if I want to get all them in. But let's see later, there's a window up the top, taking a little bit more time to draw these in. Okay. And behind, you've got maybe, like, a part of the structure of the house there. But look, this is what I'm gonna do. I'm just gonna create this sort of sideward section of the house maybe like this. Okay? There, just so I can see a bit more of the, yeah, the side of it. And that can kind of be hopefully on catch some light onto this scene. And I also want there to be maybe a shadow running, running down from this rooftop, so like this maybe Okay, little shadow there. It's gonna be sharp shadow. And then at the bottom, I'm going to put some darker, sort of softer shadows on the side of the house. Okay, there we go. That's that right hand side. And let's get in the bottom part of the house here. And we've got a door here, little entrance there. And there's a gate in front of the door, and this is kind of like this brick wall here, stone wall. And a lot of these buildings a lot of these buildings and the rock that's used on some of these walls are from medieval times, you know, back in the 1300s. So, you know, there's that preservation of history right there. But, you know, you can also see, you know, you can also see, obviously, the house itself. It's been renovated, and there are some little additions added on to kind of modernize it. But for the most part, it's untouched. Okay, there we go, a nice that wall there. I can go ahead and put the details in of that wall later on. Now there's a chimney up here or something just sort of going upwards. There's all these trees coming in from the left, and I'm gonna pretend that they're not there, 'cause I actually think it's, you know, those trees are getting in the way a little bit and I don't want, I don't want to put them all in. Okay. Let's have a look here on the right hand side. You know, you've got some more kind of rooftops of buildings. So we've got one here, an orangy sort of rooftop. The underneath, we've got a bit of light, and then this fence that sits in front. I'm going to just simplify this fence goes all the way, actually, all the way to the right, so I can do this all in one go. And there seems to be some kind of shed here. I can just make out the edge of this shed that can go up like that. And then down here, it actually coincides with the roof of this building to the right. But underneath, it's all darkness. I'll color that in just to remind myself later. There is a house behind here as well that it's a triangular shape and then it goes up and then it comes down here. And, of course, this kind of type of air of the roof there. This is all very important. It's going to help to create that sense of light and dark. You know, I'm going to actually shade that bit in here to make it darker. There's also a chimney on top of this roof. It's just if you look at it, it's just a rectangle with, like, a three dimensional rectangular shape like that. That's all you have to put in. And then you've got a few more of these houses. This one here looks kind of just white, stark, kind of white color, which will leave that in afterwards. You know, I'm not really going to alter that at all. However, there's, like, a bit of darkened timber. And there's also another chimney here, another chimney or something like that there. You know, behind here as well, there looks to be maybe another house, and I'm just going to perhaps simplify this down. Like that. So maybe it just looks like there's another house or something behind there. Another rooftop joining on there. Great, make that chimney a little bit taller. All right. There is also a little bit of now, this is actually the walls around the city itself of Visby, and it's completely preserved. You can just see it there in the background and you can barely tell that it's there. That looks like some type of tower, like the remains of an old guard tower. Okay, let's get in the side of this. I'm going to get in the side of this building as well, just to maybe get in a bit of darkness on the right hand side. Those buildings are looking pretty good for now. I don't think I want to do anything else with the buildings. And I reckon what I'll also start putting in is some indications of some houses. Now, if you look down below here, there are some rooftops. Zoom in a touch and just make sure I can imply some of this stuff. But there's a rooftop here and there's another house in there. Because we're on higher ground at the moment. And, of course, you can sit here and try to get in all these little details, but I just want to create a bit of interest in there, but not spend all day doing this. Just some, I guess, implied details in here. Just behind all this undergrowth and the rooftop of this building here as well, you know, there's like a wall or something there and a chimney. You know, it's all pretty simple. Okay, get the side of that house as well, there's not too much. Not too much I need to imply in there. It's kind of like smaller sort of houses down in the base. I might have to actually reduce the size of these a fair bit once we get in there because they do look at a little bit too large. But let's go ahead and imply this kind of hill. And you can see here this hill just goes all the way down. Yeah, it goes all the way down like that into that valley. But around, we've got these trees, and I'm going to get in, like, a tree here. Let's just get in the trunk of this one here. There's not much space to the left of the tree, but there is enough to sort of imply that it is there. And this tree is really complicated, but the great thing about trees is that you don't have to really fuss around with the details because at the end of the day, a tree is a tree. You know, as long as you get a bit of variation into these branches, you know, you're good. And always try to make these trees in the foreground a little bit larger as well. You know, the branches make them larger and more detailed. Okay, even this bit of the tree kind of goes up, and that's like a whole darker section there. I mean, a lot of this is kind of quite difficult to put in there exactly, but I'm going over the top of some of these houses that I drawn in during before. No problem. These trees need to take precedence over the little bits of detail down below. Because I think this is a big part of this scene. Okay. I'm just using those branches as a bit of a guide for sure. You can see it just the branches go all the way from the left to the right side of the scene. Like this, left to the right and forms a kind of connection to the right hand side. And this is really important in watercolors or in painting in general to create elements where the foreground, the background, and the midground coincide with each other. So then it looks more cohesive. It looks more natural nothing in nature exists on its own. It's always entwined with something else, other elements. So always have to keep this in mind. This tree is going to cast a great big shadow here to the right, and I like I do like the shadow pattern. I'm just thinking whether I want to whether I want to alter that at all, I think that will be alright. I'm going to get another imaginary shadow coming here perhaps in the foreground for another tree that's out of view. So I'm just penciling another line in here just to indicate, even though there's a lot of light here, I think I just want to break that up. And we're going to go in here with the second tree, okay, which is smaller, overall, goes up like that. Again, it's going cutting in front of the houses and things in the front. I'm just trying to remember where the path is. The path is here. So, you know, as long as it's close to the path, we should be okay. We're leaving enough room, okay? There's another tree in the back there. You know, this tree is a little more easier to draw. And we've also not only got branches, but we've also got some leaves running through these trees. So, you know, that's something I'm going to be able to imply later. Perhaps another tree here, okay, or hidden behind, you know, implied back there because I need to get some shadows in for the houses. And of course, the questions going to arise as to where those shadows are coming from. So we need this to make a bit of sense. So this tree might be casting some shadows this direction, maybe. And then, you know, a bit of softer shadow on the house there I'm thinking about the roof also. I'll get in some shadows on the roof at the same time. Yeah. But in the photograph, I just thought some contrast was lacking on this side of the building. So, you know, having some light and darker shadows, some softer shadows running through here will just make that house look a bit more interesting. And that, again, is another shadow sort of pattern that I'm going to put in afterwards. A lot of this I'm just kind of having to make up. And often, you have to do this in watercolors. You know, it's very difficult to get that you know, to get that perfect composition, it's impossible. You have to experiment and make it the way you want it. Often when you take photographs, you know, a lot of things you can't control. You can't control the weather. Sometimes you can't control the time of the day. You're just out there and you're taking a photograph and you just happen to take that reference or that subject in a particular manner, and you have to be adaptable and know use that artistic license to change change scene. Okay, so that is looking pretty decent at the moment. I'm really tempted to maybe put in a figure in here, but I reckon I think I'll just leave it for now. And let's get started with the painting. 31. Gotland Painting: So we're going to go in with a very light wash of color. And this is basically going to start off with all the warmer colors first. Okay? So I'll grab a bit of this yellow, and this is really a combination of cinacidon gold and a little bit of yellow ochre. Drop that in here. I really want to get this sort of golden color coming through here. Cut around those houses a little bit. It's not a big deal also if you go over the trees. Yeah, because you've got to remember that sort of golden color is also coming through the trees, a bit of the branches here. I will at some point have to do the sky, add in a little bit of color, a bit of blue into the sky. So I'm going to do that in a moment, but I just want to get in some of this warmth first of these sort of branches going through the trees because it can be tricky it can be very tricky otherwise. Here we go. Great. The path as well, is quite Sandy. And I'm going to mix up a bit of the yellow with the white and just drop that in there. So we've got a bit more of a grayish. Maybe I can mix in a bit of actual gray as well. That's better. It's grayish value for the path. And I always like to get everything to just blend in. So you can see here the path goes all the way to the back, goes to the right like that, comes down here, but it joins up with all that yellow. So a bit more of that yellow here. Like that. Again, just to create this feeling of light and this is going to again, disappear. Most of it is going to disappear once I get in some of those greens. Let's have a look at these houses here. There is a bit of like this color here. This is burnt sienna. So I'm going to put that in for this rooftop. Some of the rooftops, actually, we could probably get all of them in that color. It's kind of like a reddish brown color like that. Pretty light lighter than that. There we go. That's better. That's like, actually darker. I won't touch that. Okay. Just a bit of that. And we'll leave the white. We'll leave the white in there, okay? Some of these other trees, I'm going to do the same thing. Let's put in some more yellow into these trees. You know, at this stage, we're not worrying about any of the details. We're just putting in the light. Okay, putting in the light. Yep, some of this will come across maybe. Good. Um, yeah, I'm just kind of experimenting and seeing if I can just bring some leaves and things over to the right hand side there as well. That's good. Yep. Some more trees there in the background. This might actually be good. I could darken off in the back there to create more contrast on the side of the house itself. Just rub out a bit of lead pencil there. I don't know why I had that in there, but I'm going to pick up some nacodone gold, really light Cranacodon gold and drop it into the side of this house to imply the light. And also, I've got myself some Hanza yellow, which is, again, a very vibrant kind of yellow. So I've saved that for the side of that house there. And the front of this house, I'm going to leave that white. I think I'm just going to leave that white for the time being. Let's have a look at the rest of it. What else do we need to do? We've got a bit of kind of brown value up here, and I'll bring that across. Well the rooftop, this is just basically a touch of burnt sienna. Berciena also behind the building for that part. And why not just just get the chimney in the same color. Okay, hopefully this dries off nicely. And, of course, you've got some other bits and pieces here in the back too, there's lighter colors. This fence is going to be lighter, a bit of that yellowish value there, and more of a darker brown value here for this fence, Kate. I'm trying to get all of this in at the same time. So we've got a nice kind of wash. Side of this building is really kind of yellow, as you can see there. So I'm just dropping in a bit of that lighter yellow paint like that. Rooftop again is kind of burnt sienna color. It's like a reddish brown color. And what else do we have? You know, maybe a bit more of that burnt sienna here for this side of the building? What do we want for the rest of it? Again, maybe another touch of light here. And a lot of this will have to just again, dull down. Building here is a kind of grayish rooftop. I'm going to put in a touch of that gray here. And what else do we have? You know, we've also got some warmer colored paint there for the chimney, like that. And here for this one, we've got a bit of darker, grayish value for that chimney, as well, which actually kind of extends to the right a little bit for the rooftop. Okay. Maybe some more warmth up there. Let's just simplify this down. Probably leave that white, though in the back a bit more of this creamy color there for this edge. Okay. So let's go in and just get in some color for the sky. I'm picking up a really light wash of cerulean blue to just drop in like this. Cut around all that previous color for the tree. Leaving a bit as well so that it's not all blue, but the sky needs to be. It definitely just needs to be a bit darker than all the rest of this stuff in here. So hopefully, it's just see it's not all completely dried off yet, so this is great. It means that we can get in softer transitions, and it doesn't mean that you have to color everything in Blue. Just make sure you've got some blue in between the branches. And, of course, to indicate the sky. It's about 5% paint. The rest of it is water. So there's not much concentration in there at all. You kind of got to do this quickly so that it doesn't cause too much disruption and sharpness. And notice I'm also creating some areas of light, some white areas running through. Now around this house, I'm going to drop in an extra measure an extra measure of blue. So just making it darker. And the reason I'm doing this is to really bring out the contrast on this house. Really bring out the contrast on this house. And the tricky thing here is that you can actually mix everything together by accident. I'm leaving a little white edge, as you can see, just on the corners where I'm just kind of touching the house like that there just to make sure it doesn't spread in there too much. I mean, this has kind of gone in there, so I can just move it around my hand. But can you see how I'm just really doing my best to cut around that house, but darken darken add in more cerulean. And this can also create a bit of imbalance. So that looks too blue now, so I'm going to need to add some more in over here to balance that out. Okay, though I want this area to be a nice contrasted area for the house, I don't want it to overwhelm everything else. So here we go, just going across the edge of this rooftop now. All right. We've managed to do that fairly successfully. Now we just got to do it for the rest of these areas, these chimneys and things. Pretty light wash is all that's needed. Okay. Fantastic. Alrighty. That looks pretty good to me. So the sky, those trees, I now just want to put in some color for the ground, this wash. There's lots of green, but I'm going to have to re wet this area because it's dried off. So I'm just spraying it down with the spray bottle to reactivate the paint and make it so that when I add in some colors, it's going to spread. And I've got myself this little fan brush here. This little fan brush. And the first thing I'm going to do is pick up some green. This is a darker green, and I'm going to mix some yellow, a bit of renacodon gold in there, perhaps. Let's try this. Let's drop in some of this here. Okay, good. So we've got some grassiness here on the right hand side. This needs to read as green, because we weren't I wasn't reading as green before, I was reading as just yellow. So drop some of this in, you know, some darker bits of green as well. And you'll see here it's blending in with the pathway, which is what we want. If you've got a few different greens as well, it does pay to add in some different variations of it. Some more of that green. I'm trying not to get too much of it on the path. Here, it's really, I mean, the greens are pretty dark here. That's too much. Never panic, spray go back in there and just spray that area. Even if this path looks a bit too much, and we've gotten rid of it, we can actually still go back into it afterwards, which is definitely what I'm going to do. Basically, Sure. Draw it out again. So yeah, feathering in more of this green. Look at that. It doesn't take much. Just a little fan brush like this where if you don't have a fan brush, just use a smaller brush to feather this in. You can even use a flat brush to do this. Now, over here, I've noticed there's actually a lot of this sort of white not white, but yellowish grass in this middle section. So I'm going to leave a strip of that there just as it looks in the reference photo, kind of cut around it like that. And kind of go around all these houses and that kind of thing. There are some lighter greens here as well, which I'm going to bring down. I'm not touching the tree, by the way. I'm just leaving that for a bit later. One thing at a time. This area is actually really dark, as well. It should be darker in here. I'm just going to put in some a bit more darkness, like that. I'm probably have to redo it afterwards as well. Okay. And what's important as well is that these shadows of the trees, they're also getting them in at the same time. I don't want this to just all disappear. We look too sharp afterwards. So there's only that little time now to just get in those shadows across the page. And the shadows are kind of like a combination of sharp and soft sort of shadows. So the paper is already drying in some areas, and in some other areas, it's actually it's actually still wet. So we will continue working on this test here. Okay. And basically just add in these greens while I bid my time for this paper to just dry off slightly. I'm doing this so that once we get in those shadows, they're going to stay put and they're going to look dark. Okay? And they're not going to shift around, hopefully, too much. So look some more here. Chances are, I'll probably have to go in and change some of these shadows up again behind there and add more contrast. Okay. But for the time being, it's looking quite okay. This is just some darker grayish paint that I'm pulling off the palette to do this here. Be a darker paint. Thank you. Some more here. And the edge of the path actually has a bit of kind of darkness, if you look, just kind of sharper contrast at the edge. Almost almost missed that out, but you can see there that sort of sharper edge. Down here, it sort of looks like that as well in some areas just can draw it out more. I try not to get rid of that bit of path on the back end. So tricky. Maybe a bit of dabbing off will help like this Yep. There we have it. That looks a bit better. Softening down. Right. So I'm gonna pick up a small sort of round brush now. And we will work on these shadows. Another thing you can do is pick out a little pocket knife like this and use this to scratch out some little highlights running through the background there. I think it's a bit too early for that. We'll do that in a moment. But the shadow, I'm going to just pick up a bit of gray and a bit of purple mixed together. And this will give me a nice I think a really nice sort of shadow color that will go well with all this. Also mixing a bit of that green in there, too. Okay. Let's check that. Value maybe a bit of brown to warm it up a little bit. That's better. Okay. More pains gray. And you want to make this mixture pretty thick, as well. You don't want it to be too thin. Otherwise, it's just going to go all over the place. So here goes nothing. Let's see how that looks. Not bad. Not bad. Okay. It's spreading a bit much, but, uh, it doesn't matter. We'll continue on. I might just increase that, uh, Off like this. And let's just put in these sort of branch little branches running through here. You can also put in the shadow for that tree here, running to the right, here, running to the right, as well, you know, there. And what I was trying to do, as well, is to just wet maybe part of the front of this building like that. Okay, and just maybe get in a bit of that shadow. But firstly, I just want to create a bit of sharpness here, the edge of the building so that it looks There we go, so that it actually looks like there's light hitting the side of that building. Okay? That might actually do it in terms of the shadow. I didn't I don't mind that. Yeah, that might actually do it. Underneath here, maybe, there'll be a bit of a shadow running to the right side of the building, being cast by the left side of the building. One of the most important things to note in watercolors is it's often what you leave out. What you leave out that creates this illusion of light and darkness. You've got to practice a bit of self control and make sure you're not coloring everything in. You're leaving part of that previous wash to show through always. Here we go. A bit darker wash here. But I want to preserve, again, this nice yellow on parts of this wall. And we've got this fence here again, a little bit kind of a little bit darker in spots. This is that fence there. It's too dark. Just dab that off a touch like this. Basically, I'm just using some brown, bit of burnt sienna like that or this fence there we have a little bit of that yellow showing through here and there. Some of this is actually kind of wet, so I will not go into that area too much. Maybe some little bit of gray on some of these parts of the white areas of this roof here, again, just to break up that darkness, break up that light through the back there. I should look fine once it dries. This whole section here is actually pretty dark underneath this rooftop, so I'm safe to really go in there darker, like that. Join that on. You're trying to just paint, get in all these shapes in one swoop. Behind here, again, this side of the building, I'm going to imply the extra darkness that's running down in there. Even though it doesn't look like that in the reference, it's going to help. I'll do the same thing for this building behind it here. Okay, so there's actually a replica of the same pattern. And this is going to help to pull the rooftop out. The make it look more like a roof sticking out and catching on catching, you know, a bit of light on there. This here is too yeah, it's basically it's too much light too much water in that area, so I'm going to have to leave it because if I try to do anything any sort, add any sharper details on here, it's just going to melt in there and cause a mess. So we'll just deal with this for the time being. Now, another thing I didn't do is I did mention I wanted to put another shadow coming in to the foreground here. So I'm going to do that like this. And there you go. That looks pretty good. Actually don't mind that. Okay. And again, this impression of the leaves, we're going to drop in like this just sort of scumble your brush around to indicate this stuff. I'm also mixing bit of that green in here as well, because it is really the shadows on the grass just look kind of like a darker green value. Also, the branches of the trees, especially larger branches, they cast a little shadow shape of their own as well. So it's not kind of completely, yeah, not completely just one tree trunk, and that's it. Okay. And before I was quite actually a little worried about this shadow because it was so it expanded more, but, you know, we're just going to have to deal with it. There's no other way around it. If you try to fix something up like that, you end up causing more of a mess. There are some of these darker little shrubs around the front of the house. I'm just dropping in indications of that. And like I was mentioning before, this sort of part, you can scratch off some paint like this to indicate, like these shrubs and things through, yeah, through here. Kind of trying to keep this nice and light. Some parts have dried off faster than others, so you can get in, you know, more more convincing marks, whereas some parts are kind of still wet, so the water runs back in in those areas. But This should be okay. You know, you notice also just some maybe grass running into some parts here. So little bits of highlights and things Okay. Good. This can be quite tricky to do. But it's the only way really to bring back some of this nice light pattern and details. Let's put a few more. This part hasn't actually dried yet, so I won't do too much. I do want to put in a few marks there once everything has kind of dried. But we've got time to do that. We still have time It's more so on this side that I wanted to get in imply some of that stuff. And now what I can start working on a bit are these trees. And it's really almost the last step. I mean, besides getting in some final touches, 32. Gotland Finishing: The trees are going to be pretty crucial. I think they're going to be pretty crucial anyway, because they're going to kind of create a stronger sense of shadow because the shadows are kind of lighter, but they need to be they need to appear a lot lighter in comparison to the actual object or the tree itself. So this is quite important. Oops. Scratch that off. I was just trying to imply these branches a bit more since this area had started to dry off a bit. And let's go into the trees. Now, I've got a bit of brown. So this is burnt sienna, and also I've got a bit of burnt umber. Let's just start. Let's just go with it. So this here is kind of quite dark. And I also like to mix in a bit of lunar black. And looking at the reference photo, trying to kind of follow this some of this pattern here, the light pattern, that part of the tree here is pretty dark. So I'm going to just color that in like this. And this is kind of can be quite terrifying. If you're new to watercolors, trying to get in all this darkness in here, all of a sudden, it just looks really out of place. But you have to stick with it. You really have to stick with it. And have faith that once you're done, it's going to actually look look good and make sense. Makes sense in terms of, you know, come through as a tree with shadows on it. So this was like a branch here as well here. Unfortunately, a lot of that had gone. Some of that color light on there. I can bring it back afterwards. Okay? I'm using a small flat brush for this more of this paint. It's not possible for me to preserve all of that yellow, okay? And so when we go in later with some opaque paint, we can actually bring back some of the light. But for now, the main job here is just to get in this sort of indication of the branches going upwards, numerous branches and not only the large ones, but some small ones running through as well. And, you know, they're not even you know, what I've drawn here is not even accurate as to the reference photo. I mean, it looks close, but at some point, you know, if you really spend too much time, you will end up frustrating yourself trying to copy every single limb of this tree. So there's a point where, you know, you use the main parts. Paint the main limbs and then leave the rest. I want to darken this area on the left side of the painting a little bit or just make it look like there's some darkness in there, just to bring out the light again on the tree here. So just some of this stuff in the background. Not to mention this really dark section here. I'm going to have to go over some of that stuff. There we go. And I'll scratch out some highlights again later. But this is super necessary to create more contrast. Here as well. There should be more contrast in here. You're just picking out some spots really, to imply this. Drop that in, let it sort of move around a bit. These little houses in there, I can just work on maybe some detailing for the sides there that aren't caught in the light sides of the buildings. Again, I just want to imply this so that we're not spending all day detailing stuff that's, you know, all the way in the distance. But a little bit of something like that. I can even indicate maybe some windows here on the sides. Look at that. Just a few sort of quick little vertical marks. And it now looks like we might have, you know, some darker areas of the house. Some of this stuff I'll have to work on a bit more later as well. But, you know, while I'm here, why not just start putting in maybe some of these trees you see behind the house, there's these little trees, and I'm also cautious not to make these trees too dark, but at the same time, they need to be dark enough so that the rooftops come through. So let's see what we got here, just some more green. There maybe another bit of green here. A bit of a bit of lighter green to the left here, more vibrant sort of looking green around these houses. Yeah, it's tricky, but it's doable. I sort of scumble the brush around as well to make sure that these trees and things look a bit more blended in more natural. That's one of the last steps also later on where I will work on blending. But you can still do some of it now. There we have it. Now, this little section here, I'm going to bring that part of the tree downwards, and this can already be most of the shadow that we see coming in from the left. And it might look a bit too sharp at the moment, but that's because I haven't. I haven't actually blended any of this yet. So we'll do that later on. And when I say blending, I mean, we're going to soften off some of these edges of the shadow so it doesn't look too kind of stark. Okay, let's move on to this tree here. And I want to try to speed this up, as well, because I can take a really long time with this stuff. You know, I enjoy when it comes to trees, I enjoy detailing them. You know, with almost anything else, it can frustrate me, but trees, I don't know what it is about the branches and, you know, following the branches down the page and continuing them upwards. There's just something kind of mesmerizing about it that I tend to just lose track. So there we go. We want to connect this to the shadow as well that I painted before. There we go. Sort of connect it onto that soft shadow. I like that softness, but you maybe have a bit of a sharper shadow for that tree there, maybe there as well, so that they don't look all the same. With these ones, there's really not much to put in there at all. You're just implying some branches going upwards. Of course, you've got some branches that go all the way to the right hand side of the scene. You know, just as long as you keep them randomized and intertwining with all the other branches, interacting, you know, that's going to keep it looking more realistic, even dry brush parts of it. So I actually made a little mistake there with the branch, but, you know, it doesn't matter. Just continue on. Now, I'm going to put in a bit of green and yellow for the leaves. And I was over in Visby during the autumn, which I think is one of the most amazing times to see the see these trees, the golden color and the amazing, you know, the amazing sort of golden values, warm values that you see in the leaves. So I'm going to try to, you know, portray this. And yeah, they're kind of like a greenish yellow. So that's basically what I'm doing. I'm mixing a bit of green with the yellow and dropping it in. Okay. They're not really super green. But dropping it in here, try not to go too far into the downwards as well. But, you know, I'm just scumbling this brush around, going across the branches. You know, there's even if you look at it, there's even some leaves and things going through these trees. So you are just having a bit of fun here, but making sure you're also leaving out some light from the sky. Okay, onto the house, I'm going to start putting in a little bit of detailing. All this stuff there has pretty much dried. You can even take the opportunity to scratch out some extra little highlights here as well, if it comes out, bit tricky. Thank you. Scratch that off. A lot of this stuff has already dried, but I can get in a few little kind of strands in areas. Yep. It's a bit difficult now because it has dried. Maybe down the base. Little tufts of grass, just to create this sense of light and dark, a bit of the grass catching on, catching some sunlight. Okay. A little flat brush and some dark paint. Can be any paint, but I'm using a bit of gray. And let's go in here to the window here. Oops, there's not enough water in there. I need enough. There we go. That looks better. A little bit of color there. There we go. That's just for the window. Let's work on this one here as well. You only get one chance to do this. Draw it in, paint it in whatever, and basically just leave it. There's a little maybe shadow, like a really darker area underneath the rooftop here that I will outline a little bit. Again, just really taking care not to overdo it. These are just the final finishing touches of your scene. You know, there is like a door in the background. The fence, you know, sits there in the front, so I can maybe just get in a little indication of this fence they're going up there and get it to connect onto the side of the house there as well. I'm not going to bother with these shrubs, or will I maybe later, maybe later. Something back there, that sort of area of the roof, maybe this chimney, a bit of detailing up the top there for the chimney. What else do we have here, this darkness that's running through this side of the building that? On that we've got some extra darkness in here. That really needs to be emphasized more. The fence this is where I can get in some details of vertical lines indicating this warmer colored brown fence, like that. A nice little window on the side of that house. And let's put in some of this stuff here. Again, more I guess, details of some shadow underneath the building. What else can I potentially do here? It's not all too much. I don't want to overdo it. And when it starts looking half decent, I try to let it go. Maybe you put a window a couple of windows there on the side there of the house, imply that. And changing my mind, I think I'm going to go in and get some sort of sharper marks here for these shrubs in front. But I'll just create kind of these little tufts. Don't want them to be too dark. But yeah, just to make it look like, you know, there are these little shrubs in front, there we go. That looks good. It's kind of blended in with the base now. Little windows in the background. They don't need to be emphasized too much, darkening again around some parts. Okay. Let's have a look what else we might be able to do. Chimney. I might just darken this chimney down like that. Um, it could also just be a matter of some texture for the rooftops, you know, a bit of gray lines running across. So I don't know. Let's try it for this one. There we go. This one as well, maybe This one worries me a little bit. Dry off the brush first. There we go. Bit of just detailing on the roof, I suppose, rooftop. And chimney. I've forgotten to put in a bit of shadow maybe on the right hand side of this chimney like that or whatever this is. Oh, another thing I almost forgot was this shadow that runs underneath the roof here that I was trying to put in coming in like this and then moving in over the top of everything else. It's kind of like that imaginary shadow, caused by the light sort of hitting that area of the roof. Okay, let's continue on. Me dark areas. I mean, we're almost really almost finished. I can confidently I could confidently just take the paper off and be happy with it. But I want to show you just some extra detailing parts. So here, I'm picking up really some darker paint going in and getting that absolute Absolute dark contrast here on the right side of the trees and branches, bringing it further down into the ground. Like that, this is creating a much stronger contrast and working on some other small branches and things maybe running through again, it's kind of your last go to, I suppose, to just imply bits of extra detail. You don't have to do this, but I find it does help from time to time to make the scene more interesting and more nuanced. Now, there is some tree coming in there from the right. You know what? I think I'm going to just, uh, I think I'm going to maybe put it in anyway, something like that here, just so that I can cut around of changing the location of it so it can cut around this bit of the wall like that. So, you know, it looks a bit like something maybe cutting around the rooftop, as well, of these buildings. Yeah. Just like a darker tree shape, I suppose, running behind these houses. Now, of course, in the scene, it doesn't this tree is not directly behind like this. But by positioning it in this location, we are making a conscious decision and giving that tree a purpose, as well. And that serves that purpose of just making a nice bit of contrast behind there. You know, I like that so much, actually, that I might. I'm very tempted to. Whether I want to do this or not, you know, I was thinking about maybe putting a tree behind there or there, but, you know, you can overdo it. You can overdo it. And let's just see if I can put something in here, again, to just draw out the light behind these rooftops. Any darker sort of shape behind them is going to make the rooftops pop out more. The temptation is to add one over there, as well, but I don't think I'm going to do that. Some more dark paint into areas that might be missing some darker values. Maybe some of these trees back here. But yeah, you don't need to really make those trees in the back too dark. In fact, you'd want to steer away from that because as you go into the background shapes, you want to decrease the amount of brightness, darkness. Okay. I'm just drawing some of these branches that are coming through this green and yellowish mess here, which were meant to be leaves, and they still read as leaves. But all the because all the leaves went over the branches this wash, I lost out in those branches. So this bit of work here is going to certainly help. Um, sort of bring a few little marks over on the right hand side of the scene, too. Uh, yeah, I of being careful as well to make sure I don't overdo it. Okay? Just because it's there in the reference photo does not mean you have to include all this stuff. But certainly, I think it needs to interact with the house a little bit. See, I'm just bringing some softer branches further down near to the house, but steering most of these branches away. Okay? Seems to be a bit of a void here, but I think we can get away with that. We can get away with that. Okay. So we're gonna dry this off, and I'm going to do some quick little lifting. In fact, I think everything's already dried, so I can probably just lift paint anyway. Got myself a fiilbt brush here. You can use any kind of brush, but a fil bit brush is perfect for lifting paint. And I'm going to go ahead and lift off some paint here where the tree is. Uh like there. And why am I doing this? It's to soften some of the shadows and to just create balance. So there's not too much sharpness running through here. Here, for example, I want to lift off this paint and create more light. You can really bring out the light on the left side of some of these branches. And this is much better, in my opinion, than going through with some guash and doing it because at one, it's faster. And two, it looks more natural. So yeah, all this area is actually quite you know, this shadow is quite soft on the tree. But the shadow on the left is pretty sort of sharp. So I don't want to mess with that one. In fact, I will probably just alter this side of the tree because it looks a bit funny shaped at the base. Just quickly straighten it out. That looks better. Bit of my OCD side coming out here. That looks much better. And on the right hand side, I might just go ahead and touch this up again. Okay, there we go. Look, touch that up. There we go. Now, this tree looks a lot better, in my opinion, maybe not a big deal for most people, but the tree is so close to the front of the scene that we want to make it look more convincing and more true to the reference photo. These trees out in the far distance, you don't need to really bother at the end of the day, all these out there because they're too far. Bit more lifting work here. Again, to soften this shadow, this is too sharp up in the top section here. So I'm going to lift that out. Maybe a bit here as well. Any sort of spots that you think would benefit having a bit of light exposed, this is your chance to just do this, okay? That's too sharp. Lifting that off. This is too sharp. Lifting that off. Okay. This is how you create these soft blends. And I actually don't like what's going on up here. I don't know what I've done there, but there's some funny light maybe off a branch that I tried to paint earlier. Maybe I will alter this slightly there. Okay, that looks better. Yep. It just kind of looked out of out of place. Like a branch of that thickness wouldn't appear that high up in the tree. So I just thought I'd separate off that into a few other branches. And yeah, that does look a lot better now that we're done. Continuing on with the Filbert brush and more of this lifting work. You know, this can go on forever, really, but you don't want it to. You just want to lift off enough to give this impression of light. You can keep on going. The great thing about this technique is that you really can't stuff it up because you really have to scrub hard to reveal that layer of paint below. But it's such a useful technique to have in your disposal. I might do some of it here as well on this tree side of this tree there, the background. You can't even really tell, but it's just a drawing up and create this same effect. When you use an effect in one area of your painting, you run the risk of it causing disharmony in another section of your painting. So in order to recreate that harmony, you then repeat that effect perhaps to a lesser degree on the other side. Because otherwise, the eye will be drawn directly only to that area and it will focus on it, and it will seem out of place. Alrighty. And I think we're finished. 33. Copenhagen Drawing: Let's go ahead and get started with the drawing. And this is an area called Nyhaven in Denmark in Copenhagen, and it's the whole area where we've got a ton of boats, like a harbor area and these beautiful buildings, these colored buildings in the background with all these amazing little windows. So this is a photo I took while I was over there, and let's go ahead and put in a line roughly where I'm going to put the line in roughly where the end of those buildings are. Actually, maybe where the start of the buildings, sort of hit that little boardwalk, okay? So I'd say that's about a third of the way through. So I can probably draw a line roughly about here. Okay? So we do need to leave space for the buildings up the top. So, something like that. Fantastic. And, you know, down below, there's actually a boat right underneath the actual wooden part of the harbor goes all the way across there. I'm just going to quickly draw that in. But the boat goes roughly from maybe here. I'm just trying to pencil this in to maybe about here. So I'm just going to approximate where it starts and ends. It's not a big deal, but of course, it is right at the center of the scene. So we don't want to make it too small or too big, but we do know it just sort of goes all the way through, okay? That's the bottom of the boat here. Oops, like that. Okay. There we have it. And, you know, on the boat, there's all kinds of stuff, you know, I like this kind of this area of the boat here. That's kind of like the area where maybe the captain sits in the side like that. It's actually a little bit longer. I should go roughly to, like, here, or just eraise this section. Don't be afraid to make little corrections as you go with the drawing because this is the time to do it. Once you start painting, it's a little bit late. Um, it's still possible. So there you go. It's just a box, and, you know, you've got four kind of windows on the side there like that, you know, on the back of the boat, there looks to be some kind of a couple of Hessian, I don't know, Hessian bags, or maybe they're just bits there. There's a sail here as well, kind of going across that. And another one that's kind of rolled up there, stored away. There's another one here also, sort of rolled up and stored away like that. And then we've got, of course, the masts. Oops, this mask is more kind of here. When I look at drawing things in, I sort of look at where that object is in regards to in relation to other objects. So like this little boxy bit of the boat there. I've just put the mask going up roughly about there. Here, we know that the mask goes up right next to this sail. There's all kinds of details on here. I'm not fussed on getting everything in 100%. But at the same time, we do need to pay a bit of attention since this boat is in the foreground. And yeah, we're not going to get in all the detail, that's for sure. It's a very tricky subject. And I do want the buildings to also play a strong part of this scene, okay? It's the front of the boat or the ship. There let's a look at what's going on in the back. You know, I really think maybe we can even extend this extend it out a little bit further along at the back. I'm always looking for ways to just clean it up or change the scene so it looks a bit better. There we go. It looks a bit cleaner now, the boat, and creating a bit of length as well has helped, I think, just to um just to make it look a bit more balanced. Okay, so we've got all kinds of stuff in the actual boat. The ship itself keep calling it a boat, but it's technically a ship, isn't it? It's quite large. And in the back, there's some darkness. We don't need to put much of that in there. But, you know, you've got these vertical strips of wood that just run down the page like this. Okay. I behind the boats, so I'm going to just pencil that in. Okay, let's have a look. Okay. So the background. What we're going to do is just put in a little line roughly about here, and this is where the buildings start roughly about here, okay? Little buildings and of course, what I will do is put in this little building here in the back. You can see it's kind of got a darker roof, but most of it is just white. Right in the center of the scene. It's quite all the way at the back there. All I'll do is just move. We're going to put these three sort of buildings in, so one, two, roughly kind of measuring them out, one, two, three. Okay, that's the third one. And all they are, you know, at this stage are just these little boxes. How far do I want to make it? Maybe about here. And then the rooftops just come up, but there's a good amount of, you know, a good amount of space on top, as well. Like this. Okay. This little bit there. I'm going to emphasize that touch more, actually. So maybe let it. Come down in this little crevice more. There we go, like that. Give me a cross. Okay. And there's a chimney on top that we can get in This There we are. That's the side of that chimney. Is gonna be important 'cause it helps to get in the the light pattern cause the light's coming over from the right hand side. Okay. Here we have this other part of the building here. Okay, leave a bit of space for that right hand side. I actually kind of curves out with a little bit like that. Okay, get the bottom of that roof top in, and here is a larger sort of roof of the other building to the right that sort of goes all the way. See that? Just a really large section of that roof just hitting the side of that area. You can get that coming up like this. There we go. We got a chimney as well in here. It's just simplized down running out of a bit of space there, actually, but we're gonna be okay. Gonna be alright. We make it work. It's a dark sort of roof. And, of course, you've kind of got and, of course, you've kind of got some windows here as well. So there's one here. Okay. Um, that sort of there. The underneath the rooftop, there are just some little bits of linework. Of course, we've got these windows which we can start to put in, draw them in. At that moment, I'm just going to focus on getting in the edges of them like this, the frames of the windows, okay? Actually, I've marked this up a little bit. These windows need to be further up. So basically, you've got these two windows up here. And this is why it's so important to always look at the building and try to assess whereabouts the windows and the features sit in relation to the ground. Because if you look at it, there's actually three sets of windows, and then so one, two, three, and then you've got this bottom section here that has a little shade and a walkway, you know, the entrance of the building here, for example. So it's really important to have that in and leave enough space Okay. And we can still get in those windows nicely like that. And some more. Look at that. There's actually a lot of these little umbrellas underneath. I'm just going to roughly pencil in these umbrellas that. Yeah, there we go. There we have it. There's all people kind of walking underneath them. There's even umbrellas maybe in the back end as well. We can imply some people just sort of walking or perhaps standing around as well. Usually the heads is gonna be enough, and then the heads and the bodies, and then the rest of that the rest we can paint in afterwards. But, you know, this sort of swarm of people walking around everywhere, it's kind of you don't need to put too much too much detail in too much detail in. And Again, let's kind of go around to this section. There's three almost floors. So this is separated into half. And you've got well, there's five sets of windows, so one, two, three, four, five, roughly like that, one, two, three, four, five, Just these rectangular little shapes like this. Let's do some more here. So one, just kind of copy the top ones, but bring it down level three, four, five and below here, we've got some other bits and pieces. So there's this door here kind of goes all the way down. It's quite a tall door behind that figure. One here, there's like a shade, I suppose, so you can call it like a little shade, two. Three, four, and another sort of door like shape there as well. Okay, so we've got a few bits and pieces going on. Let's have a look at this one here. You've got we've forgotten also to get some of these windows on top here, there's these little sections of the roof there. This one comes up roughly about there. No. This little shadow to the left is very important, again, indicating the light source. Let's do another one on this right hand side. Oops, outline that a bit better. By haber. Another window part of that window and that same kind of shadow pattern to the left. So it's really going to look like, yeah, the light is coming from the right. And this will also cast a shadow here, of course. Yeah, this is just a little bit of preparation for later. We've also got a couple of these little rooftops which we can draw in. So there's one here. I actually goes quite close to this section of the building, but there. And again, this kind of shadow pattern running to the left. I mean, there's actually a window. It's slightly open. There's some details of the window in there. I'm not gonna bother with that. Let's do this one now. Basically, the same thing. But same light pattern. Well, Okay. This will come down. Nice little vertical here. And, you know, basically, where we're going to start again with these four windows. I'll just put in the top part of the window like one, two, three, four, and, uh one, two, three, four, one, two, three, four, one, two, three, four. There we go at four windows. Easy. And the bottom part here, where we've got a bunch of shades and doors as well. So let's get that door in there. You know, here's another shade, one, two, three, like that. It hasn't gone in perfectly, but it's gonna be enough, certainly going to be enough to imply what's going on. Just shift that line a bit more to the right to give this more space. Okay, let's have a look at some of these other buildings. You know, we've got one running around here, just going down. It's kind of like a silhouette of a building. There's one behind as well, like starting up roughly maybe here, actually. I want to just decrease the size of this first building. You always have to just make sure I tend to when you stop looking at the what you're drawing in in relation to everything else. That's when you can run into problems. Now, start from basics again. The first part of the building should kind of be about here, this first little building. It's about this tall, okay? Because that's about S, the roof of it hits the midway point of this building to the right. So from here, you can then pick this other building and know that it sticks goes about there. Okay? So, you don't have to go any higher than that. There's a bunch of these bits and pieces in there. Well, let's get the side in. But of that building, there's, you know, they just keep on going through these little bits of the rooftop that stick out. This is all going to be kind of in darkness in there. There's a bit of a shadow also maybe coming across this building, you know, something else there. And from here, we need to draw in all these buildings to the left hand side. Now, I think it's going to be a little bit easier because we only got, it's only like two buildings in there, but you can see a lot of this side, the side of the building these buildings as well. So I'm going to just mark this out. We're going to leave a bit of room for that one left, but this yellow building here, you know, I want to leave a bit of space for it, so just the side of it. So I'm going to go up roughly about here. We'll go roughly about there. And we can estimate the height of the building through these comparing to the buildings to the right hand side. So that just makes it a lot easier, as you can see, and fantastic. That There we go. That's one. And it's kind of moving across a bit more. I don't know how far I want to go up with this. I'm just going to put the roof maybe there might be able to shift it around later if it's a bit too much. I think this is okay, though, I just want to leave enough room so that I can get in the side of the yellow building there. It's just going to look better this way. It's not completely straight, so I'm going to straighten this out more. That's better, like that. And then, of course, you've got this kind of white building there. I mean, all just it's quite a large sort of building, isn't it? And just comes down like that. I think this will be better because I'm going to, you know, use this as a way to put a larger kind of shadow onto these other buildings to the left. So yeah, that works well. Just increase the height of this building a bit. P, the chimney here. But There we have it. These little structures, little windows, attic areas on the rooftop. And one thing I want to do is really make the light pattern more obvious than it is in the reference. Even though, in the reference, it does look quite obvious that the shadows going to the left. I want to make them even more so more exaggerated, perhaps than they actually are. Alright. We're almost surprisingly done with the drawing, 'cause there's a lot more to be done here just because of all these windows. There's so many of them, but, you know, I'm going to simplify this one there and then work a bit on this stuff. There's just something here. There is a large umbrella here. I can just pencil that in plus another one that's overlapping here to the right as well there. This to some figures kind of walking around like this. Well, just underneath the shades. And again, the windows, how many are there? There's six windows? Aren't there six windows, so I can just go one. Actually starts off higher up, one, two, three, four, five, six. Okay. And we've got what is the halfway mark of the building roughly here. So, one, two, three, four, five, six. Let's put in the little frames of the windows. One, two, three, four, five, six, Spake them apart, okay. Then we've got these other windows or whatever just further down. But there's all these these words, as well, Nigh haven NiHnO, two. Let's say 17 two, three, four, five and six. Okay. It's good enough. For the drawing. Um, a lot of this other stuff we can get in a bit later. There's no problem with that, especially this whole area here. I feel like that's gonna be a great opportunity to get in a large shadow. I'm just seeing if there's any other things that I might want to put in, like, for example, maybe, you know, a tree here, you know? There's a tree there. There's a tree here perhaps in front of this building. Not much, but something there. Is there anything that I've forgotten to draw in? Not really. So I think that's a good little start. Let's go ahead and get started on the painting. 34. Copenhagen Painting Light: Alright. So the first step of this painting, we are going to be picking up a bit of cerulan blue. And I'm going to drop this straight into the sky. I don't want there to be any other sort of colors in here besides the cerulean blue. And it's a very light wash. It's about 5% paint. Okay. About five or maybe 10% paint at the most. And I'm going to cut around all these buildings, but just look, I want to get the top in first because it's just gonna be easier and broad strokes where you can, but where the chimneys are, you sort of got to do a bit of cutting around and where the rooftops are like this, using the tip of the paintbrush. All I want is a very nice even wash at the top of this scene. It's a bit on that chimney. I've just moved it a bit with my finger. Let's carry this downwards through the page. It's all this cutting around work that takes a little bit of extra time. But it's worth it, just so that you can get in a much nicer contrast between the buildings and the sky. Yep. It's also that contrast between the warmth and the coolness of this wash as well. Let's do this left bit quickly. As you can see, I'm not painting perfectly. I've got the microphone and a few things in the way. But even without being quote unquote perfect, you're gonna be okay, as long as you cut around the main silhouettes of the buildings, Kate. Let's just continue to bring this wash down the page. Here, here. As long as you cut around those main large buildings, you're gonna be fine. Okay, there we go. That looks pretty decent. For a sky wash. I will also darken the top of the scene a little bit with some ultramarine blue. Okay, just a little bit of ultramarine blue to help increase this sense of depth. When you look at the top of a lot of skies, these sort of scenes, you'll notice there's just a little bit of extra darkness up the top. Hopefully, this will blend in. I'll look better once it's settled. Okay, fantastic. So the rest of this is essentially gonna be about putting in some details, some colors for the roofs, and I might just start. I'm thinking, which one should I start on first? I reckon I'm going to start with this one. It's kind of like a really nice burnt sienna color. I mean, both of these are burnt sienna, so we can go in. It's kind of like a reddish brown. I think it would be better if I mixed in actually mixed in a little bit of red as well to emphasize that. It's still pretty light. So in terms of this wash, I'm using still about, you know, five to 10% paint. It just looks darker, of course, because the paint itself is darker. Compared to say, like a cerulean blue or even a yellowish value tint. Okay, going around this. Some of it might go into the sky, which I'm not all too fussed about. Um's cut around that. Yep, that window, the top comes around here. It's not the exact same color as that reference, but it's decent in terms of, like, a darker value. And I'm going to cut around. This is the whole area of that building which is kind of dark and there's a shadow back there. I'm going to have to redo that, I reckon a bit later as well to darken that further, but I'm going to get the rooftop of this in as well. There's a darker sort of roof cut around this chimney, here, here. Let's move this further down. It's pretty dark. When you've got a smaller brush like this, smaller tip anyhow, it really makes a big difference. For any bits that are kind of running and perhaps bugging you, you can sort of mop it up a little bit like that. It's not the end of the world. I mean, this could actually indicate, like, a bit of smoke coming out from the chimney, believe it or not, from that one. Why not? Okay. Let's continue on. Now, these little chimneys have, like, a yellowish color to them. Just gonna drop in some yellow ochre up there. Like that. There we go. Might blend downwards. Doesn't matter. Okay. Great. Building to the left. Again, some more of this brownish value. It's basically, um, burnt sienna. There we have it. I've got a really light sort of value. But really, if you look at the whole scene, it's more like a midtone running through here, like a brown kind of mid tone. You could call it. I might as well get a bit of that yellow ochre here as well. Blending down from the chimney. A lot of these window frames, doesn't matter. We're gonna leave them white, add in some darkness and some details to the windows afterwards. Uh, okay, fantastic. Now, I'm going to start moving downwards. Just want to get this bit painted. There's a bit of shadow underneath the rooftops here, and I'm gonna just drag the brush over. But also in areas, see, I'm just leaving bit of a white separation in some parts. Okay. This is just to stop all that paint from flowing down, as well. Right. Great. Now for the rest of these buildings, I'm going to put in a little bit of color for this one to the right, there is I don't know, it looks like a green, creamy sort of color or something. I'm going to pick up some yellow perhaps. A little bit of golden colored yellow, and I'm going to just drop that in for this one. Just check that it's not too vibrant, but that needs a bit of color in there. So let's just drop that in, and I'm going to just be careful not to go over the whites of this building to the left. So gonna cover around there that. These umbrellas need a little bit of yellow in them, as well further down the page. These ones here at the base. Now, this one here, I might actually do the same sort of thing, but I'll add in a touch of red in there. A little bit of red. Can I dull that down. I don't want it to be too. Yet, that's better. Something like that, but it's much lighter, actually. So I'm adding more water. That's really the trick. If you want really light colors, you just have to add in as much water as you can until the color looks pretty much transparent. Okay? Carrying this down the page here. What else do we have? Sort of goes all the way down to the base of the building here. Okay. Alrighty. Fantastic bit of maybe blue for this shade. Oops. It's blending a little bit. It hasn't completely dried yet. Doesn't matter. I'm just gonna do it anyway since we're in this area. A bit of blending isn't too bad, as well. The doors are pretty dark as well behind there. This building, I don't really need to do all too much with it except maybe add in a touch of grayish color down here. So halfway through this scene about here, you can see part of that building becomes kind of this grayish value. So let's just drop that in like that. Okay. Fantastic. These shades, I'll just probably adding a bit of color to them. The the umbrellas, we're going to need to use a kind of white kind of off white color. It's almost almost nothing really. Some of the stuff, yeah, it just helps to add some interest below. Like a back in color. So once we go in with those darker washers, it's gonna look much more much more natural. Okay, let's work on these buildings here to the side. A bit of grayish value. I'm going to just really make all this sort of gray in there, just a backing color, really. Alright. And I'll leave that building in the center white, that one right there. The rooftop, however, is not. It's kind of like a darker value, quite a well, really quite dark value there. So I might just do this now since I'm in this section, Okay. Good. I just want some, a little bit of wet and wet work as well. Now, moving on to the left, let's pick up again, some more of this sort of dull down grayish value. You know, a lot of it really, I don't have to touch at all. I'm just happy to leave it as is. But there is some warmer color maybe on this building here. Drop in a bit of warmer color. It's actually a little greenish, as well. Doesn't matter. I'll leave this one white in the center, and we'll move on to the building to the left, more of like a yellowy color, more vibrant yellowy color, but I'm going to add in some titanium white and a bit of yellow ochre to try to doll this down a touch so it doesn't overwhelm the viewer. Okay. Merve this down. Yep. Just where that line is for the edge of the building. Good. I should have done these umbrellas here to the side earlier. I'll just do add some color into them now. Might actually I like that kind of creaminess in it. I'm going to add a little bit more of this yellowy tinge to these ones. Just a touch of that yellowy tinge. I think that just looks nicer since I've seen it than this one. Okay, the rest of the building, let's go ahead and do this. We cut around the windows. Don't go over all the windows. And the building to the left kind of has a greenish color to it, doesn't it? So let's get in a little bit of that. Okay. All the buildings on the far edges of the scene don't need much detail at all. You almost want to stray away from detailing them because it will pull the viewer to that area, and I don't think this is a very important area to focus on. So a bit of dole down there should be fine. Now, the rooftops, I'm going to pick up a bit of orange mixed in with burnt sienna. Orange and burnt sienna. Let's go ahead and do this. Let's get this rooftop in. Oops, shouldn't have colored that part in, but it doesn't matter. It's a little bit easier to paint this side since the skywhs pretty much dried. To the left one as well. Like that. Underneath here. A little bit of yellow ochre for this chimney. Get that to blend downwards. Great. Liking the look of it so far. All these lighter colors anyway. Okay, so I'm going to just start with this boardwalk at the back, and I've got a bit of darker value here. It's just some gray mixed up on the palette. Let's drop this in. It's a little bit darker. If you can see this grayish value is a little bit darker. Then everything else. But it should be fine to just go through to kind of establish where everyone is walking down below. When it looks too sharp, you can also just do that sort of thing, lift off or soften an edge like that. There's all these figures and people in there, which we will get in afterwards. Anyway. Let's continue this wash kind of downwards. We still need a bit of the same color just running through the whole thing, basically in the back. It goes down like that. You know, Again, not too pedantic about this. Cut around the boat a bit. And I'm going to bring this this bit down here. Good. Alrighty. Let's work on the boat a little bit. I'm gonna leave most of it white, but the rooftop, I'm going to add in some brown bit of burnt sienna. Right there. Bit of burnt sienna. The bottom of the boats gonna be interesting. I reckon I'm tempted to actually leave. Uh leave a lot of it white, believe it or not. I think it might look better, if it was white or even a very light bluish tinge running through the bottom part of it. I can always color it in later, but properly, but I think just to create a stark kind of contrast, it might look better this way. But let's see. I'll put in a bit of this blue running across like this, the bottom of the boat, the base of the boat, maybe the left hand side here as well. Okay. Fantastic. As you can soften off some parts if it looks too harsh as well. Yep. And this next part, what I'm going to do is just pick up some ultramarine, but I'm dulling it down with whatever's leftover on the palette really. I've got some purples. I've got some grays, and we need to actually cut around this part. So it's kind of the reflection of the boat, if you can see. Alright, like that. But before I do, I'm just going to just drop that in there at the base like that. Um, it's pretty dark sort of water, so there's not really, um Yeah, there's not really much I want to add in there in terms of other colors, maybe a little bit more blue, tiny bit more blue so that the sky looks, I don't know, there's a bit of a reflection of the sky. But we're creating this reflection of the boat. Ship, calling it a boat. The flat brush is so useful. Saves a lot of time. Almost like a mirror reflection of it down below. Don't be afraid to redo that line as well if you think it could do a bit of extra with a bit of extra contrast. Um, just draw this in like that. Paint that in. Okay. Let's cut around this bit here. Great. So we've got this kind of stark sort of reflection underneath the boat, which I'm going to be able to work on later, maybe add in some other waves through it so that it doesn't look all too too much, sort of, too stark. But that is how it looks at the moment, and I don't mind. Just trying to add in some of this other color here to just, uh, encourage some cauliflowers, some blooms. 'cause the is already kind of wet. Maybe it looks a bit smoky. Who knows? 35. Copenhagen Painting Darks: Which means a lot of this stuff on the boat itself is going to need more work, more detailing to sort of bring out, make it kind of look more substantial. So some of these darker lines on the edge of the boat gonna paint that in.This darkness on the back end of the boat, I'll paint that in as well. That might need a touch up afterwards. You know, there's really a lot of darkness running through in this entire section to the back, even around these if you look at these little crates or whatever, there, and then you've got the actual actual boardwalk or whatever, and there's, like, these little areas which I can drop in color and indicate, like, the backing value, which is this sort of grayish value. Okay. At some point, you have to stop because that's where the walkway is. But this is kind of just a way to make the boat come out better. There is this mask, if you check here, like a kind of mask which I need to indicate that. Underneath, it pretty much has all darker sort of value blue and gray just mixed together. You know, it's quite dark actually in some areas. That. But so important just to leave in a bit of that backing color there. Just to get in this bit this more kind of darker areas of the this point Okay, there's going to be more work on this later on, but I wanted to just paint that all in one go so we've got some, like, nice, wet and wet bits running through. Behind the boat, I just want to now put in some darker values. This can kind of be the start of where everyone is walking with this line that I'm just painting in here goes all the way across like that. Alright. That's where everyone is walking. Good, good, good. A little bit of darkness on the bottom of the boat here to just anchor it to the water. Once I go through with a bit of darker color, afterwards, we can really start to start to get some of those waves running through the reflection as well to just make it look a bit more natural. Can't be this light all the way through, okay? Let's go ahead and work on some of the shadows now. I think a lot of this stuff pretty much has dried. I've got some Payne's gray, neutral tint. And I'm going to drop in some blue into this, and we're going to make ourselves a kind of purplish value. Okay? I've even got some purple here. I'll drop the purple in as well. And this is kind of for me to add in the shadows, so the darkest section. So here, this chimney, you can see that's pretty dark, so I'm going to create a little edge there, you know, here as well on the side of this window frame, you can see there's a shadow running to the left. This needs to be pretty dark, in my opinion, to read properly. It's pretty darkness in here as well, where the window is protruding from. It's really the darkest of all values running through this entire scene. Try to get them all in at once, like that. Uh, what else do we have? Well, there's a really dark sort of shadow running here, so I can, let's emphasize this more, maybe, like, coming out like this. Like I said, you know, there's a bit of artistic license here. Change it around. Don't feel like you have to make everything look exactly per the reference. Okay, bit there. Bit running down the rooftop, like this. In fact, this roof is pretty dark. I'll have to go through this one more time. This chimney, a bit more darkness on the left side of the chimney, but leaving the rest of it. Like that. No. Great. More here. This side of this little chimney here needs darkening down on the left to just show the shadow. Don't be afraid to go in just reload your brush, darken it down again if you've missed it. There's also another little chimney or something here. Okay. I got to be careful where I put my hand. It's moving some of that paint around, but I don't mind that. It's shifted some of that paint, but it's not a big deal. The edge of these like areas here as well, that can do with a little touch up that. Okay, little touch up. There. Try to get these done a little bit quicker. Shadow to the left. Some of these shadows are not as dark as well. For example, this one here, like, you can see these sort of shadows for the shades. They don't really don't really kick like the ones above. So kick, there we go. Cut around these little umbrellas below, like that. I mean, darken a bit if you need to. Same sort of deal for these here. There's just, uh, you know, bit of that shadow running to the left. Underneath those shades, um just go to touch off on this paint here. It's a little bit too dark. That looks better. I'm going to pick up some more kind of bluish paint. So serlean mixed with a bit of ultramarine blue to just try to maybe get in some Some kind of cooler value through some of these windows. If I can just kind of imply it in parts of them. And Look, I don't want to color all the windows in, some of them, you know, like this. I might outline them properly with a bit of a darker color later, even going in with some guash, perhaps. But yeah, just bring it out of this seen so far, 'cause you can't really see those windows. Okay. Here we go. Just a cooler color is fine. Okay. Good. Underneath all this stuff is a great opportunity to just start adding in darker values. It's blue, black, you know, lot of darkness underneath. It's actually probably much darker than that. So I'm going to pick up some more of that paint. Let's just drop this in. That's better. We're kind of cutting around these figures as well. As to how much detail we're going to be able to see these figures afterwards, we'll have to see. But for the moment, it's not all too much detail in there. While I'm here, I might as well just go ahead and do this shadow now. Same sort of value, pretty dark value here. This is the edge of the building like that. There we go. Like a darker sort of value running through the back. There's people as well in the distance cut around them. Then we've got this building here in the background, which I'm going to create a shadow running across it, leave the rest pretty much white. Okay. And I'm going to do something a little bit different than the reference. I'm going to try to carry this shadow through the scene and create a bit create a bit of it here on the side of this building a sharpness sharpest sort of shadow formed by buildings to the right, Kate. This we'll have to kind of go up into here. Yeah, I'm making this up. Making this up, but, uh, I don't know. I think this is just going to make it look more interesting. Very light shadow, as you can see. There's not much I want to add on. To blend this a bit. Yep. I still want to leave, like, a little slither of light there running across the front. Okay. But, yeah, this shadow needs to be very dark. And we can continue darkening across this side, this right handed side as well. This same color. Um, what else do we have? Maybe a bit of darkness here underneath these shades. A little bit of darkness. Just this grayish value that I have I'm still using, and it's maybe 20, 30% paint. The rest of it's water. These windows on this boat, I can put something here for them, something like that, just to get started. So more detailing on the inside of it. Yeah, the tricky thing here is just we're bringing out this boat more. We haven't even got in the mass here as well, yet. Okay. What else do we have? The, of course, windows and that. A working a bit on these windows. Round brush is just gonna help me get a bit more control. I can even start implying the little grates up the window like that. A lot of the ones down below are just completely dark anyway. That one there, for example. These ones here. M a bit of darkness underneath the rooftop. Here, just a bit of line work. There we are. If I can just also outline a bit of that roof top there. There we go. That looks better just to kind of make it stick out of that yellow a bit more. I mean, there's actually little bits here as well. That's separations of these buildings. You can see just some little line work bits of line work. You know, I can do it here as well. Let's get this done. That Oh, I forgotten to put a bit of shadow here as well. There we go. That's looking pretty decent. Actually, in terms of that shadow, put it in a bit here as well. It's not in the reference, Okay. Yeah, I just wanted to mirror that other side a little bit more. Definitely, there needs to be more darkness down below in some areas. This is too light in some spots, so I find the flat brush to actually be better for this type of stuff because I can scrub around a bit and blend so that it doesn't just kind of start off all of a sudden, becomes really dark. I can actually sort of slowly Build up to it. More blue. Yep. It just needs that extra bit of darkness under here, 'cause it wouldn't make sense that the shadow up there is so dark and this one here isn't. You know, same goes here. You can also leave some of that previous wash in there. I still looks good. A bit of green for this tree here. It's a bit of green also for maybe here. I think there's a tree behind like here. That kind of reads as a tree. I have some yellow. Little bit more yellow. It's a very dull sort of green, so this helps. I reckon there should be more of a shadow here as well. So I'm going to just redo this whole thing maybe go up like that. Uh, kind of just imply the building the shadow of the buildings on the right. Hitting this one. Maybe I can kind of get it to soften off on this side as well, like that. There we go. That actually looks quite nice. I didn't intend to do this, but I think it makes things look a bit more joined. Like, I needed to find a way to join these shadows together. It's just too much. But yeah, drawing the left and right hand side of the scene up is what I'm trying to say. Bit of darkness at the base areas there as well. Okay. I'm going to just keep continuing to play around with colors. So cerulian blue also. While I play around with other areas. I'm going to drop them into the bit of cerulan blue into the windows. It's kind of like a cool color. It's not really 100% curling blue, but a bit of a cool value. They don't have to be all the same. Here we go. Look at that. Bit of blue in these windows. It's going to look nice against the yellow. I just darken part of this. We make this part of the chimney a little darker. 36. Copenhagen Finishing: The rest of this is now just really coming down to detailing, but before I do that, We're using the flat brush to just work on some of these waves down below. And yeah, basically bring out details of the waves, that kind of thing. So yeah, we got some kind of parts here that go just bring down like that these areas of the walkway behind. You know, it sort of hits the water like here. I then we can start putting in some really dark values. I'm using blue and burnt umber, ultramarine blue and burnt umber together. Okay here at the base. Let's see what we can do. Some little sort of waves running through. You know, I do need some of them to go over that reflection as well. More blue? More umber. Let's bring this down again. Yep. Okay. Use the round brush better. I'd be good. And it's just to kind of help, I guess, create some waves running through this large, you know, shape, reflection more down below, as well. Yeah. I'm just going to start putting in a bit of detailing into the boat. But. So far, I don't mind that reflection. Looks nice. Now, time to work on some of these windows. And really, for this part, I just treat this like drawing. Drawing in small bits and pieces in here. You're kind of making it up as you go as well. It's not set in stone. You know, some of them might be darker. Some of them might not be, but it's just kind of getting that squarishness back to some of these areas. You know, some of them you can just color in as well. That's going to do the trick. But it's really just bringing out the contrasts one more time. And because you've got so much, you know, previous layering in there already, it looks more interesting than just kind of coloring it all in the same color. You know, there we go. Look at these sort of frames like that. They can change them around a bit as well if they've been positioned funny previously. I just wanted to rearrange this one a little. I overshot the mark. Oops. That's right. A bit of detail up the top there for the windows again. Repeat on the left. Bit of these sort of frames. Side of the building in here as well, would do all these little buildings in here just could do with some detailing work for, you know, the windows that are left in there, you know, the top parts like here as well. Windows, even in the darkness, it does need some bit of work. You know, these perspective lines on the buildings can also help touch So little details, the figures that's put in some like feet, legs or whatever, people just kind of walking around in the distance here. Um, C people just walking Just simplifying this down really, I'm not bothered with getting an tiny little Well, this is most of the detail that I'm going to do anyway, but, the legs of the figures are so important. It's gonna make them look more like figures, and you join them onto the body, like that. Okay. Then you'd want to put a little shadow underneath running to the left, as well. So like that, that's just going to make it look more convincing. I should get just a bit of tidy up maybe under some of these umbrellas, parts of the umbrellas, I just want to get a bit more contrast if I can clean it up. Put in the mask. Gray and a bit of brown. Okay, let's go upwards like this. It maybe here. There's some details, kind of, you know, little bits of rigging that just joins up onto the boat as well. So just seem kind of I'm making a bit of this up, really. I made this one at a little bit longer than I needed to. It's gonna go all the way all the way through the scene. But I feel like it forms a little passage through the center. I like that. Tidy up these windows a little. I always think it helps when you've got subjects closer in the foreground to make them darker in some spots. It really just creates that sense of just makes them look more closer to the scene, to the front of the scene, which is really what we're after. Ittle waves, smaller waves, maybe running through. Tell you what? This would have a bit of a reflection win at the two masts like that. I might add a bit of orange to this area here just for this little bollard. It should be white, but because I made the boat white, this is going to look more interesting if one just drop in a bit of that. Maybe. Or maybe not. Something subtle, more subtle like that. A little bit of this detailing on the side of the buildings. It's like a little post coming out the front of, you know, the ship here. Some brown in ears lost out in a bit of this brown and there we go. So this kind of overlapping of the waves and what have you is going to create a bit more interest. I do think maybe I just need to do some more in here a bit more blue through the center. Darkness underneath the boat to dress really anchored now. Okay, fantastic. Now the last step is just putting in some white highlights. So I have a smaller round brush. Give it a dry quickly first. It's really just getting in the final final finishing touches. Um, I might put in a little red for some of the faces of these figures, just a touch of pink or whatever that I have already here. You know, there's things like, you know, some of these people might be wearing some colored clothing, like a bit of blue. You know, we got some pink or something. For this one here, for example, one here with a bit of pink, and a bit of blue. Yeah, I like to save these sort of real vibrant colors right to the end so that we can imply some what these figures are doing, you know, walking around, basically. Newhaven. Bit of lettering. Not the best at lettering, unfortunately, but that should do the trick. There's actually something else over here on this building. I won't bother. Okay. Uh, a bit of white. Got some titanium white here. Just go to mix up a good thick sort of mix of it. That way, I can just drop this into some areas. See if I can actually rub out some of this powder paper is exposed. I can get rid of some of that lead pencil there. I thought I was going to redo that bit, but I don't need to. It goes through a lot of these white sections. Rubbing out that previous lead pencil in there. The ones that parts that's not covered in paint anyway. What else can we do? Back here? Just naturally brightens up that area already, so you don't have to put in any guash. So I just don't want to make any unnecessary additions. Some of the lead pencil looks good in there, actually, it creates structure. So you don't want to, even if you could, you wouldn't want to raise all of it, because some of it's behind the paint anyway, so you can't do much to it. But that's fine. Oops. This umbrella also, I think, could do with a bit of There we go. So about that white paint. Now, we'll go into maybe some of these figures here, just the shoulders of some of the figures and, you know, the head and the shoulder section like that to bring some of them out of this darkness. This guy looks like he's wearing a suit or something. Can even makeup figures in here as well. We have a light on the masts. The mast looks a bit too thick, but, um, it's okay. We get away with it. Here on the front of the boat that's needed, sorely needed. And maybe on the top of this as well, Again, it's kind of good to sometimes add in a bit of kind of white running through the water. Believe it or not, these kind of this indication of some sparkle here or there can make it look better. You know, just some here. Don't have to do much, just a little something. Okay, maybe a bit of detail, a bit of light back onto some of these umbrellas, like the edges of them as well, No. Yep. Yep. It's 'cause it's a little you know, there's a little bit of yellow in it actually looks fine. So anywhere that you think could signify some light or whatever you can drop that in. It also helps to sort of indicate, like, the white frames that you might have removed before. So Be patient with this and with the little details. No rush. This little, you know, you can see here these bits of rigging that go into from the masts, into the actual ship itself here. You can kind of imply I don't even know exactly where it goes and connects onto, but you can kind of make it out, make it up, as well. Trying to overdo it. It's so important. This brings back a bit of light. So sorely needed light. You can even put some kind of verticals or bits and pieces running through the darkness as well. That helps to just break up the darkness and imply small details in there. Well, I've forgotten to put in separator of this building here. Just quickly do that. This a little bit of final touches there on the rooftops. Do you notice there's, like, a little bit of darkness and maybe a chimney or something. Let's see for these ones. I could do with a bit of darkness, kind of like this grayish color there. Okay, bring it out of the sky. Here. As well, perhaps Yep. In a little bit of extra darkness perhaps here that I'd gotten rid of before accidentally. The back. Like I said, the boat, it's so close to the front of the scene. I just want to really make it known that it is its presence known more Bit of dry brush for these these sort of walkway behind there for extra measure. And we are finished. 37. Porvoo Drawing: This is a great little scene that I took a photo of in a town in Finland called Portvu and it is a really quaint little town. You can see these nice houses everywhere, colored sort of houses. A lot of these houses are preserved from the original settlement of this area. So I thought this was a nice shot because we've got all these shadows coming in from the right hand side, running to the left, and also this dark sky. And I remember at the time, I was traveling through and thinking to myself, I don't know whether it's worth actually taking a bus out there because it was going to rain. And I'm glad that I did because it still rained, but, you know, as you can see, there were moments where the sun did come out. So here I'm putting in the little line here at the back where we've essentially got essentially got all the bases of the house. So it's essentially the road. Okay, and you can see the road that comes in like that. Finishes maybe roughly here about here. So I'm going to just pencil in this road. That great. And, you know, the other side of the road comes out over there. You can't really see where it is. There's some cars parked on the side of the road there as well. I think I'm going to actually use, I'm definitely going to use some of these cars here or silhouettes of these cars to also indicate some uh, some shadows running to the left hand side of the scene. Okay. It's gonna be kind of important, actually, just to make sure I've got some, some kind of smaller, longer shadows around the side. That's one. I wonder if I can actually squeeze a second one here somewhere. There. Look, I can squeeze another one in here. Yep, roughly. I'm just making this up at the moment. There we go. Got another one there kind of in front. There's still a little, you know, in the distance. But this might help as well, kind of break up that shadow a bit more, make it look more kind of interesting. I'll have to think about it later. Maybe another one here, just another car behind, like that. Yet again, there's all these trees here. Look, we can I can just kind of pencil this out. I think there's some kind of tower here. I can see something here. I know there was a church actually next door, so that might be the start of that church. I'm not exactly sure. We've got another tree here. And notice how I'm just simplifying this tree, as well. I'm not really um putting too much effort into it, just outlining, you know, the general shape of it. Now, here we've got to kind of pay a bit more attention. We've got a little fence here. Not only that, we've got, like, the entire section of these houses. There's so much going on here. We've got this one in the front. But there's one here in the front, and you can see it kind of goes up, the side of the house there. Okay, maybe a bit more downwards like that. There's a tree here on the side, a little bit of that tree, and the front part of the house. There, it's kind of got this nice white frame that you see on a lot of these Scandinavian houses. And there's a bit of, you know, architectural detail there, but that kind of goes across. Then you've got this kind of rooftop, this triangular section here, so like that. And, uh, let's have a look. Bring this up a bit more there. And we'll bring it down running to the right hand side like this. Okay? Fantastic. Let's bring this down. This white sort of frame. Alright. Looking decent. Top of the roof, like that. And then we have it. We've got kind of like a side of the house. Yeah, let's put in some indications of this window. This little section there, and again, this window that just runs up, starts off in the triangular shape, then it comes down like this. You know, look at the shapes and simplify them down the windows and simplify them down to shapes. That's what I'm trying to say. Um, there's some steps here, as well. Let's just see if I can maybe imply some of these like that. Sit down there. A couple of steps maybe making making their way up. Um, kind of like a couple of steps. There's actually a smaller step at the base here. So well, there we go. Yep. That looks a bit better. Okay. And this is remembering this is the kind of, like, sidewalk, I suppose. I kind of should leave a little less of the sidewalk, but that's alright. Now we've got this big house, this sort of gigantic house that sort of goes all the way to maybe there. And then you've got, like, some smaller sort of structure there to the back. I'll put the smaller one in first just so that I know not to go any further. Uh, yeah, give myself a bit of room. I might have to shift it over a bit more anyway. But let's give this a go. So really, we've got the roof of this thing coming upwards here and here. That they call this like a saddle roof because it sits almost if you look at it, it looks a bit like a saddle, of course, horse saddle. Like that. There there we have it. That's just sort of outline of the roof. There's this kind of half moon shaped window in here, which I will draw in nicely. There's a kind of antenna or something up there and something hanging off that roof. No big deal. There's also a shadow here sort of formed by the light coming across. Run that down the page more. That's not enough. I need to make this edge a bit more sloped down, this top edge here. Basically the rooftop. Mmm. I know some people like to use rulers for this stuff, but I do try to avoid it, actually. That way, you can draw this stuff by hand if you really need to out and about. Okay, let's get this angle more downwards like that. Then this one I can then angle a lot more downwards like this. Okay, great. That's the side of that roof. Okay, here's the bottom part there. I mean, it's kind of like more in an angle like that, actually. And then we've got these parts of the window sort of sticking out there's one there. And we're going to do this. It's actually Got the shadow there to the left of it. And then it sort of just comes out like that. That then goes down like this. Fantastic. And then we've got kind of like the bottom bit of darkness in here. Okay, that looks okay. The window itself, I'll just draw in some little detail in there. We need to repeat this same structure again. How are we going to end? How did I do this before? So I reckon I can just repeat this same structure like this, and then we can get the bit like that coming out there. Running down. Um, I'm gonna actually get this roof to move a little bit more to the right so I can fit in this little part of the, like that. Okay. There we have it. That's the other one. And I'll work on this inner part of the window as well, this sort of rectangular bit in there. That's it. We've got the top of that one in, and we'll move this downwards. And we've got some details here for the wall. Starts roughly here, goes up. It's kind of like, you know, a block shape, I guess, like this. Simplify this down. Like that. It's really all in darkness. I mean, it just goes all the way to the back there, and I can't even tell what's happening, but, um, if you zoom into the reference photo, you can actually get a better idea what is happening. Um, you know, this actually is like a gate of some sort here, and that's kind of the opening of the gate. You've got another sort of pillar here ends up like this. Same sort of pattern continues on, another pillar here like that. I actually go up in this rangular pattern like that. This one actually has got it as well, I can barely notice like that. Repeats all along. I'm not interested in I'm not interested in putting in all the little details, but just enough of these and then make sure they kind of get smaller as well as you go into the distance. I just implies essentially the details. I've got a car here. I didn't see that. I just parked on the on the sidewalk here. Let me try to get this one in. There we go. That car there. Side of it. Front wheel. There we have it. Car this just by the side of the road is gonna help, I guess, with the shadow pattern as well. A little bit running to the left. Oh, this house, I'm gonna just put the windows on now. There's a couple of windows, there's one here. Okay. This and another one here. And I'm just kind of aligning them to the ones on top so that they roughly in the same, you know, roughly in the same place, line up, I suppose. Anything else I need to do on the actual house? I don't think so. There's looks like really typical pretty typical traditional finish building to me. Now, there's a little shade here. I forgotten to put this one in, but it comes out like that and goes in there. That's going to, you know, you can see here, kind of just connects onto the porch and has a little shadow under it, as well, of course. I like how this house has got these cool little like uh you know, horizontal lines running across it. You know, that I'm gonna be able to do later in watercolors. There's no problem with that. Okay. Okay, let's have a look what's going on here. Now, I probably should put in this second part of the building next to it, like that. I'm gonna go in. Let's get the rooftop in here, okay? And we'll connect that on with this house to the left. Bring this downwards like that. Another semicircular moon shaped part. Okay. Here. And, uh, some verticals, one, two, three, here on the right. And we've got some windows here as well. Simplifying this stuff down. I think I spent a bit too much time on those building cell left, so I just want to do this one a little quicker. Okay, another sort of building here. And they have the same sort of structure of these, what you call them? Bits that stick out. These little attic windows or whatever. There we go. Looking decent line here. Bring that down. Okay? And that's kind of like the end of that sort of building. Um, I've made this building like a little bit larger, actually. But it doesn't matter. There's still enough room to get in. Some of these other smaller buildings which are going to help really going to help to make the scene look more diverse in terms of buildings and details. You know, it's kind of got a little rooftop that goes across there, comes down there. Good. And, you know, around it, there's just smaller buildings. There's like a white building there in the background. Can zoom in a little bit, see what it kind of looks like, but it's just a white building there, a couple of white buildings in the distance. Have a rooftop as well that just sort of run around the sides there like that. And there's another bunch of houses here. You can barely see, but all the way in the distance, couple of them running through the chimney up here as well. And there's also a car here. I didn't see that before, but there is a car. There's a bunch of cars heading towards me. I remember when I was taking this photo, this was also a bit annoying because I was trying to take it. And there were so many cars coming through. But, perfect shot end up kind of just waiting. There you go. You've got some of this stuff. Foreground details so important. Without that, and anything in the midground, it's not really gonna look like much at all. Um, let's have a look what else we can do. I do trying to think that some figures might be good for this scene. Some figures, some people, bit of life. Put one in here, maybe. Maybe someone kind of just walking. Oops. Looks a bit funny. Let me, uh, re jig this one a touch a bit more further up. Foot in front and then a foot here to the back. So kind of looks like this person might be walking into the scene like that. Someone there can also be casting a shadow once we get in the shadows, maybe a bit more of a just thinking about how the shadows going to come in. I don't want it to come in on too much of an angle and look really harsh. Okay. So that's a figure. We've got a person here. Um, you know, what else do we want? Maybe we could have a we could, um, put someone here, kind of walking into the scene, this that maybe someone here also maybe walking towards or somewhere behind on the road. These figures just add a bit more life, little bit more life to the scene. Yeah, the angle of the shadows, I do kind of want to put them in, like, roughly see I'm just using the linework here to just imply the directionality of the shadows. I want it to come in from that angle like that. Do I want to put in any more people? I do think, um, I'm tempted to put in some more figures here, but at the same time, you know, we've got details. Do I really want to put something in here that's going to maybe get in the way? It depends if it does actually get in the way. So I put a figure here. I get that person kind of walking in. I can always take out that figure afterwards if it's too much, but I just feel like I wanted another person in there somehow, as well. Okay. Playing around that shadow shape again like that, you know, following the same direction of these other shadows. Okay. Smaller one. Let's put a smaller figure out there. Okay. Let's get started now with the painting. 38. Porvoo Painting: So the first thing I'm going to do is get in some of this, this warmer color on the rooftop, on the sides of the house. And I've got a bit of orange, maybe beautiful put in a bit of red mixed with burnt sienna. The burnt sienna is already pretty reddish, but like a reddish brown, but the rooftop is just a bit more It just has a little bit more like a reddish value in it. So look, I'm just going to cut around this part of the roof. Okay. I just want to make get the light on the roof. And afterwards, what I'm going to do is go through and get the darker skywah in, okay? And this connects on to this one to the right, as well, so we can do these all kind of at the same time. This Hopefully this dries pretty quickly as well, so then we can, you know, work on everything else faster. It does look a bit more even more reddish as we go down. Like, just warmer value. But it's still, it's still, like, a brownie kind of color at the same time. So yeah, look, let's just get it out of the way. We'll sort this out later. Maybe just go over that part of the shadow as well, here and here. Okay. Right. Fantastic. Nice, warm kind of looking rooftop, which is what we want. Side of the building here, I'm going to put in with yellow ochre and maybe some orange mixed together. Yellow ochre and orange. Get myself kind of try to replicate that color on the side there. It's really it's kind of like a dark yellowy color, isn't it? The reason it's that color is because the shadows there's kind of a darker sort of shadow running across this side of the building. So I'm kind of remembering to cut around some of these white areas as well. Um, honestly, it's not really that big a deal. You can probably actually just, you know, I'm just going to go over the top of it. Um, just simplify it. I can always bring back some of that afterwards. But the left hand side, you can see that there's actually some white areas, so we'll leave that showing through. I need more yellow. It's a bit too dark. I'm gonna just lift off a bit, just try to add a bit more yellow into this area so that it's looks more like what I want it to be. Okay. I just want to get this to mix. It's a rooftop. Okay, fantastic. Let's have a look at this building here. It's kind of like brownish color, a bit of brownish value, darker brown, actually. So I've got some burnt umber. Let's drop that in. And hopefully it doesn't spread too much into the wash above. It might. Probably will actually, but not a huge. Yeah. Just bring this wash down. Comes all the way across like that. Underneath the building, to the left, it's kind of we've got this sort of let me just get a bit of green in here first for this tree here. But this area is kind of like off white color. So a bit of yellow ochre, yellow of any color, really. Just drop that in there, and I it's actually get some more maybe some gray leftover on the palette here. There we go. That's going to be a bit better. It's kind of like a muted down grayish value through this scene. I can just paint around the window sills here and continue on again. This is tricky. I really want to make this, uh, loose as well and not take too much time to paint in. So, you know, that's there. Let's pick up some more of that. We got some brown. Got some brown for this area. Here, this needs to be a little darker. So I'm going to go in there with the mop brush again. There we go. That's darker. But around it, you know, you've got that frame of the window as well. If I can paint something with a smaller brush, I always do that. It's just easier. Here we go. Same deal. Cutting around. There's a lot of this cutting around work. It doesn't have to be perfect, by the way, you just have to imply some of this going on in here and you can always bring it back with some quash afterwards anyway. This needs to be This needs to be lighter. Tissue will help Ju dab off some paint like this. That's better. Just I needed that to be uh, I need that to be lighter. That there. Okay. But look what else do we have down below? Some of this yellowish value again running underneath. The Along this wall, this is kind of like a yellow ochre type of color. Okay, I'm just going to get in quickly like that. Needs to be in. Just like this. Just to simplify it down, of course. Um, this wall here is a lot lighter, as well. I'm going to just again get in this little wall here. It's behind the figure. Mm. Great. Now these houses are gonna be a little easier. I'm just picking up some Hansa yellow. Hs are yellow. And I'm dropping that into some of the white to just doll down that yellowish value. So you'd be careful, as well. I cantenly mix a bit of green in here. So it might turn out a little bit greenish, but you get the idea. Yep, just bring this down. Let me just mix up some more of that yellow. I want to make sure it's properly a bit more yellowish. Okay, here we go. So just getting that in a bit of painting around these frames and maybe it might sort of move in here and there. Okay. Fantastic. Here like that. It's a bit of this yellowish part here of the roof. We can get in light wash of yellow. I would do the same thing. Ooh, wouldn't have gone over that, but it doesn't matter. Uh, yellow. Really, what I'm doing is just leaving out a touch of white here and there. For these pillars, you just have to cut around them. That around back here, this house there, that's kind of like yellowish in value Let's grab some of that same kind of brownish value I had before, and I'm gonna color in this rooftop. I've forgotten to get this one in before. We can do that here, thankfully. Hold the brush further down like I am as well. This is allowing me to get in these really fine details which otherwise would be a pain. If you're holding the brush further down the back. Okay, let's continue on. Now, this building is kind of like a again, like a burnt sienna kind of color. I can get this all in in one go. We don't want to there's no shadows in yet. I don't want to bother too much with the shadows yet. We can get them in afterwards. The rooftop, you know, yeah, we can darken. Why not? And if I need to strengthen it later, then so be it. But simplified kind of roof like that. And, of course, these houses here in the background, they've kind of got this, again, this really light wash of burnt sienna, like that. Maybe Excellent. Now I'm going to start with this wash down below. I'm going to bring some of this color down the page, turn this into kind of, like, a bit of light. Really light color. This is just some yellow ochre mixed with a bit of quinacridone gold, and I'm keeping this so light it's almost nothing on the paper. I'll go over the car, as well. Why not? Okay. This way, I have a nice kind of light wash running through this entire scene. Okay? Lots of light that I can use later. Fantastic. And these trees on the right, I'm going to have to do something here. I'm just going to have to put in a bit of lighter wash of green here. But I'll go over the top of it again afterwards with another darker wash, but this is going to help to make it sort of come out. Okay. Excellent. Now, all this stuff on the rooftop, I'm pretty sure it's dried. So let's go and get in some darkness in the sky. And I reckon what I'll do first is just kind of, I'm going to start off with a grayish mix. I've already got some premix pains gray here. Okay. But I've also got a bit of lighter gray. Let's drop this in, you know, I know that there is a lighter sort of gray up the top, and then it just fades into, like, a more darker sort of gray. So I can go up here, let's pick up some more of that gray. Now, inside the gray as well, there's also some blues, okay? But I want to just take the time to mix some of this stuff through. This serle, little bit of this cerulim here I have on the side. Look at that use while the paint is still wet, you really want to just do this it first. Yeah, okay. It's just to kind of cut around all this stuff. Um, more brighter sort of cerulean. I can mix, you know, I just like to mix this downwards and combine it with some of this stuff here as well for the trees that are still kind of wet. But it doesn't matter because at the end of the day, At the end of the day, those trees are going to be darker green anyway. So yeah, but I want to put just more concentration of saturated blue in there. I want to make it also darker blue here, just more of a saturated color. Cut around that. There, let's cut around these little bits and pieces. Rooftop there. Here. Here we go. Oh, I don't want to let that dry. Let's go back in there again, re wet that area. Okay. Thankfully, it's still sort of wet. Just mop this bit up here. It's a bit too much color. Yeah, bit of gray. And let's go around this rooftop needs to be darker than the roof itself. I might actually use a flat brush for this. It's a bit tricky with the It's a bit tricky with the round brush. Flat brushes always they always seem to work better to get the sharper line, sharper edge, which I really want to ensure. Okay, great. And then just do the same thing here. Okay. Okay, let's move some of this darker paint further down here. Like that. Yep. Maybe a bit of blue down the base to finish it off like this. Okay. Fantastic. Now, let's take a look at what's going on here. We've still got this mostly wet area. I think I can lift off maybe a bit of, you know, clouds or something sort of lighter value up the top. So just picking my tissue up and just wiping through this section, creating some lighter clouds up the top. But moving through sort of the mid section here, you see that there's actually some elements of darkness that need to be implied, like this cloud, the bottom of this cloud here. So that's why I'm just dropping in some more darker paint, hoping that sort of spreads around. You know, we've got another sort of darker cloud here, just small little detail. Drop that darker paint in. Don't add too much water to that paint as well, because it's going to create a terrible looking bloom if you're not careful. Okay? So I'm just feathering in a bit of this stuff here. Okay, I think that sky looks right. It's decent enough for us to continue on. Now, I think I'll let this whole thing dry and we'll come back and do that final wash of all the shadows. Okay, so time to get in all the little details on the houses and also this large shadow coming in. But the thing yeah, the first thing I want to do is work a bit on the darker values of the rooftop and that because it's going to be difficult to get it in afterwards. So what I like to do is just kind of mix up a light wash of gray. And for this sort of part here, you can see that there is some darkness here on the left side of the building. It's very subtle, but it is darker than that front section, so I need to make sure I imply this here. Okay. And as we go up, it just gets darker. I've got some brown umber, some bit of umber in there and bringing that across this and, of course, through the rooftop, because this whole part of the rooftop needs to be darker. Right at the back, there's actually it's a bit more darker at the back. That might actually be able to simplify this simplify this down Because there's actually, you know, you can see some light running through here. I reckon I'll just simplify it down, get this all in one color. Then afterwards, I'll work on maybe adding in a bit of color through there. Yeah just to split it up a bit. We've also got some darkness here underneath the edge, this little edge of the building there. So something like that. You know, you can even see bit running down here. The side of this sort of pale beam, whatever. Um, what else do we have? There's lots of little details just actually running through this entire building. That's like a pipe or something here. But I'll paint it in anyway there. Um, we've also got this step. These steps here that need to be darkened a little. Nuts. Yeah. Of course, this part of the shade that's quite dark as well. Gonna get that in quickly. Like that. Including a bit of a shadow underneath like that. This door, there's kind of lots of little details running through the door. I'm gonna do too much, but just a little bit of work through there. Um, what's this? There's some kind of something there as well. Just sort of darken off on a little edge there as well. Just having a look to see what else there is. Um, yep, that's fine. Okay, let's go ahead and get some of these other bits in. Now, there's sort of half circle, semi circle here. I want to paint that in. Without too much fuss and, you know, this shadow running in from the side as well. You see that? Nice little shadow. Um, We've got some darker value here, darker sort of color. Run run that down the side of the building as well. Here. Of course, underneath here. Um, I think we could put in a bit of darker value here also for the windows like to, 'cause they're kind of it's got a bit of brown in there, here, just a darker value. And, of course, behind it, the little dark spot, um, bit more gray, bit more pains gray running there. And here, well, a little bit of detail on the windows of the frames of the windows like that. Yep. Yep. Um, grab a bit more of that burnt sienna and going to darken this sort of area here, kind of get a sharper shadow for this part of the brickwork. Bit of outlining work. And, of course, of these windows in the back as well, detailing there I've forgotten to get this one in a bit of detail on this window. These here in the front, more of a grayish color there and, of course, here. Okay. Okay, let's get in this large sort of shadow running across the scene. I'm going to use a flat brush, a large flat brush to help me with this. In fact, actually, I might go with the mop brush. Okay? Because I think it will just simplify things down. I realize I forgot to paint in a rooftop in the back end here. Just quickly do that. Okay. 39. Porvoo Finishing: Okay, so I'm going to spray this down with a bit of water, really just this whole front section of the house. This everything here, spray that down even some of the foreground, as well. This is to encourage the shadow to kind of run across. I'm gonna be using a bit of purple. A little bit of purple. And with pains gray, bit of ultramarine blue. Okay. Just to get myself a nice, juicy, sort of shadow color. Running through some of the remainders of the paint left on the palette as well, we can jump, grab some of that and use it. A bit of brown, maybe. Okay, let's go ahead and just give this a crack. Is that dark enough? It should be should be pretty dark. It should be almost should be darker than the sky, even, a little bit darker than the sky. So I really going heavy with this. And, you know, with the figures as well, we got to make sure that, uh You know, I've almost forgotten about these figures, but you can see here there's a bit of light. I'm going to try to make that light sort of come through in here. I can see maybe a bit of darkness on the left side of the vehicles like that. Okay? But underneath the car, there's a bit of darkness, um, like that. So I'm leaving out a bit of the white, not the white, but the kind of yellowish values of the paper so that we have some interesting bits and pieces to put in there still. Here we go here goes nothing into the left side of the building. Here, I do think that's got to have a bit of shadow on it here. This figure is going to be in shadow. Look at this. The shadow on the building, look at that. It's just all spreading the way I'd like it too. But it doesn't always work. You have to be careful. It's moving up a bit there, which I don't want. Actually, we could get away with it actually. Just get this part in, why not a bit darker so that it blends with the shadow as well below. And while leaving the right hand side of the building exposed to some light like that. I lost a bit of the it's not as straight as I'd like. I'll try to straighten that up, but it's tricky. That's right. Um, I would like a little bit of that on this white building as well, maybe here. This bit of something here. All this, these darker kind of houses out in the back. I get a bit distracted with that. Let me see if I can just work on this a bit more. This shadow pattern, you know, it just goes up into this whole building, and I know it's quite abstract, but still it needs to it needs to make sense. And, you know, even here, look, I have to join this on to this area of the steps Let's have a look at that. How does that look okay. Car, as well, needs to be in that darkness. This whole line needs to be a bit sharper, too, okay? Um, and, of course, making sure we're leaving in a bit of light running through. This area here, that bit of light's going to be so important to preserve. I'm just really, really reminding myself, don't touch that. It's so tempting to go through and color that in. If I do, it will just eliminate the, yeah, that light going into the scene, which we really want to imply. The stuff there in the background looks good. This is kind of like a darker tree to the right, so I can just, I'm just using a mop brush, this same mop brush and darkening that down. Maybe with a bit of neutral tint or beans gray for this, as well to really bring out that darkness. Actually that building back there as well. I'm not too fussed about that. Pretend that it's there. Let me go. Cutting around these cars now. It's all pretty much just darkness in the background. I want to just break this shape up a little bit. It looks kind of harsh, doesn't it? Uh, maybe I can get a few little stray bits and pieces with this, fan brush. It doesn't look too, you know, stuck on. I think it already does. Um, there's not much I can do about it. I have to just leave it. I got to resort to using the smaller flat brush now to just work on some of these buildings out in the back. I've got myself a bit of brown. Here, I'm going to put this one in. That I didn't notice I just left an edge a tiny little bit of yellow on the edges there for the light source, potential light source there. A bit of scrubbing in there. Created some inconsistencies. Here we are This car, I reckon I'll put some gray into it, and make it darker back there. Of course, you've still got the shadow running to the left next to the car like that. It's not a big deal. Now the figures, this is where it kind of gets interesting. You got to put whatever colors you want on the figures. I've got some blue. I really like this blue of the sky. I want to replicate some of that and bring it down into the figures. So that's what I've done for this one here quickly. And there's one here. I don't know. Maybe I'll get a warmer color, like a reddish value, red and brown kind of value. And let's get that one in like this. Okay. Here we have it. And also bit of pink for the faces. Dilute down this Okay. Okay. Fantastic. And this is interesting. I wasn't quite intended, but I like that this car has a bit of the back end of it exposed, a bit of light exposed back there. I wonder if this is still I might still be able to, it's still kind of wet, so I can put in a bit of that shadow running running through and there. If it's too much, just give it a spray. Oh, no, I didn't want that, but yeah, it's kind of run down a bit, but it doesn't matter. You have to accept it sometimes in watercolors. It just has a mind of its own, and it's very kind of fickle as well. And you change, it disturbs something, does that. Now, I want to create now because we've got a bit of this going on this weird sort of stuff, I'm going to create some inconsistencies on the right hand side, some quick little bursts of some cauliflowers here and there. Okay, maybe a bit here. I hadn't intended for some of this stuff to mix in, but, yeah, you know what? Like I said, you kind of you kind of have sometimes stuck with it. Okay. It's so looking quite alright so far. Um, I reckon I'll just give this a quick little touch up with the cars, like a bit of darkness, maybe on the left side of the cars like that, in places, and I'm going to dry it off and come back to it. Alright, some finishing touches with the flat brush now, and maybe like a little round brush. So this is just the last touch to get in tiny details. So here, I can see kind of in the background there is this, you know, this building. And I'm going to just brush on a few little windows like this. A few little windows here and there. Extra bit of brown sort of color the roof just needs to be darker, so I'll go in and do that. Here's that round brush. I'm gonna flip over to that round brush. It's just a bit more easier to work with to detail this stuff. And here, just that darkness there, a bit of darkness also here on the side of that building. Another line like that. We've got a whole lot of darkness running through here. It's kind of like a tree or something. I can use that to create a nice sharp edge on that building, as well as this car here. And the white of the houses there in the background. So, you know, something like that. And there's actually some little some greens actually behind here. I didn't see that before, but, like, just behind these two rooftops, there's some green. Can I kind of join it on to this? I think that might be better. Yeah, that looks good. Some more green here as well. I almost didn't see that. Like shrub here as well. Get that in quickly. I might try to extend this up here, actually. Feather it out nicer, like that. Legs, all these figures, that's just put some of them in this when you kind of make the shadow, just kind of go on the right the same direction to the left, like that. Same put this figure here. Figure here that I kind of half drew in in the distance like that. Okay. A figure here in the darkness, sort of walking into the into the scene, like we were planning to put him in there before. Okay, and here another figure with the same kind of shadow pattern, but this just making a shadow maybe go up into the fence a bit like that. Okay. We go. Underneath there's the tire, the wheel and just a bit of darkness underneath the car. It's just important to portray through here. Just trying to soften this part down a bit. Um, Because the colors are not consistent with each other. Um, Okay. And some little details here and there. You know, you've got this right there. What else do we have? We've got this little part of the rooftop, you know, bit of darkness in there. I'd be some darkness here. Um, and the outlining things and restating some other aspects as well. But do you notice there's some, little, you know, these little lines that run across the buildings, like these bits of wood, like that. They even kind of run across the fence here, so I can just kind of do that there as well. The fence Some of the darker parts of the roof as well, just kind of be good to re jig, read in some texture. Directionality of the way the roof is, you know, structured. That there's even a little edge of darkness here of the white on the white, the edge of the white. You can spend all day kind of doing this. Temptation there is pretty is great, but, yeah, you want to try to minimize this as much as you can and be getting in just the bare minimum to imply what's there. You know, this fence, yeah, I need to bring that back. Just some of this stuff has disappeared in there, and it's not reading as a fence, so, you know, some of this is going to help. You're basically just drawing with the brush and bringing back some little details. Put a bit of lighter colored paint some teal on this figure as well. The darker legs. That's connected onto this shadow. U. The windows here in the background, these buildings on the side of them as well. That's a little separation in between the rooftops. It should be darker in there, a little bit darker in there. Ah, okay. So more windows. Simplify simpify these down a bit as well. Um, Little perspective lines on the ground as well just to keep this thing looking a bit more three dimensional with depth. Not bad. Windows there. That house. I'm gonna put a bit of hair on some of these figures. To like that. So final finishing touches. I've got some titanium white left. And I'm going to go just pick up some of that titanium white and use that to bring out some highlights on the figures, maybe a bit here. Here on the right side of the figures, you know, the car maybe the rooftops or something there. It's gonna be pretty subtle, but, yeah, just kind of bringing back a little bit of light in areas of the painting. Yep. Here's what top of this car and the sides like that. All right. And we are finished. 40. Norway Drawing: Nice rural scene in Norway, and I really like the contrast between the snow and some of the softer trees in the background. So let's go ahead and give this one a try. Now, we have basically got, if you look around here, almost like an island sort of structure here goes all the way into the center of the scene, past here maybe, and then tucks back in. And then you've got pretty much just trees all around. It goes up into the distance. Now, I'm just putting in the tree line really, really lightly there because once we get the watercolors in, it's going to spread, and it might be a little bit tricky to get rid of the marks on the paper. Now, the main things that I want to have in here basically just this bank, this bank because we know it's going to be darker, for sure. And at the same time, at the same time, we want to make sure that we've also got in some of these houses. So there's a couple of houses. There's one here, and we're just kind of placing it onto the snow. You know, there we go, the sort of side of it like this. It's a rectangular sort of shape, and then you've got the triangular rooftop like that. Then you've got the side coming out there and coming down. It's like a very basic sort of house. Sort of structure one of these wooden cabins that you see pretty often around Norway. And there's a little window up the top there. Just bring that rooftop down a little bit like here. Okay. Good. So we've got a few bits, you know, a few little bits and pieces in already, and you got to remember this is going to be really the darkest, almost the darkest part of the painting, this house here and then the one to the right. So I'm going to go and have a look closer at this one on the right, and it's just caped in snow. But there's a good amount of space in between, like here. It also sits on some kind of shelf. I mean, it looks like well, not a shelf, but this kind of goes out into the into the water. But it's around about here around the same height. Let's get this in like that. Rooftop is, again, this triangular sort of shape comes down. There we go. And inside there there's a window. It's pretty dark also behind, so we can do a bit of quick shading. The rooftop here has got. If you look closely at it, there's kind of like a caking of ice snow just on here. So it's actually, yeah, it's kind of funny. It's not 100% symmetrical, but it doesn't matter. So a little bit of kind of ice there snow that's just caked on in a funny sort of manner like that. And we've got the back section as well that sort of comes out like this and then goes down one notch like that. And then you've got a little mound of snow here, bits and pieces here. But apart from that, that's pretty much it. Okay? You've got some windows as well. We can just put in a bunch of little windows underneath. Okay. Um, just having a look around. If there's anything else, I think that I want to add on here, maybe a bit more of a indication of this bit that sort of goes into the water. You can see that yeah, this sort of area here, the house just right in front of the house is kind of on these little stilts there. It's kind of like a jetty of some sort. Okay, just to kind of keep it more interesting. Then you've got the parts here on the right, and it just sort of goes around. Okay. Like that. Fantastic. And you've also got some tree branches here running up. I mean, apart from that, there's not all that much else to put in. You've got another kind of island on the right here, and then behind these trees, you've got another mountain that just sort of goes off into the distance here as well. So just having a look at everything to see how it, uh, you know, just checking the balance of everything, I guess. I wanted to make these houses just a little bit bigger, as well. Um, I think that looks pretty good. I think we can go ahead and get started with the painting. 41. Norway Painting: Time to get started with the painting. The first thing I want to do is just wet down a pretty much the entire sheet of paper with just some clear water, clean water. Now, we also want to preserve some of the white on the paper. So I reckon what I'm going to do is just spray down a good portion of all this. Notice I'm kind of covering the rooftops of the houses as well. That's just to get a sharper sort of white into the roof area. Because when you spray it around like this, you find that some of that water can sort of start to leak into the rooftop, causing, yeah, just kind of bleeds from other areas. Okay. So, how fast can we do this? I reckon we can just use this mop brush. I've got a bit of payne's gray. It's just a grayish color. Diluting this down a fair bit. Okay? It's really quite a light gray color. Going through the sky, it's just pretty much gray across the sky, but a very light gray. Okay. Move this downwards like that. Okay. And the sky is still lighter than a lot of the trees and as you can see, sort of sticking out. But yeah, we need to put something in there to indicate to indicate, basically. So let's also just wet this kind of area here underneath the house. Like that. I think that's gonna help a bit as well. Okay. So around the house, as well. Okay. What should we use? What brush should we use? I reckon I'll use a couple of different brushes. I've got the fan brush and a little flat brush and also a rigor, and the rig will come last with some of the details of the trees and that. The fan brush is really good actually for creating more kind of diverse looking shapes. And I might put some in the top there and just check it out, just sort of gauge how much the paint spreads. I don't want it to go too far down. And also, remembering, we are trying to preserve some of the the white of the paper, okay? So I'm just dropping this in, and you can see it kind of looks a bit like, you know, some trees there in the background, just dropping that darker paint in there. And I try to make this paint a little bit thicker, just a touch thicker than the area that I'm going into as well. Here, there's a looks like one of those Christmasy tree shapes like that. Just mimic that slightly there, and then above here, you've really got a whole row of these trees out in the distance you can't see them so well, but I'm trying to just imply that. There we go. Kind of joins up. And then underneath, it's just kind of this snowy sort of color. Okay. Alright, let's bring this down. And because, you know, the whole you know, the whole page is pretty much wet, you can see the colors just spread nicely. There's not much you need to do. Bring it across. I might add a little bit of touch of cooler color, I've got a bit of blue ultramarine blue. I'm just going to mix in there slightly. Payne's gray is already a kind of bluish value anyway, or cooler gray, so we don't have to bother too much about that. Okay, now bring this down, and there we have it. Sort of bring this around. Fan brush is doing a decent job, but if we use, for example, the flat brush that I was mentioning before, you can also get in a similar kind of effect, so just pick up some of that and see, just kind of drop in that area like that. And if you don't go dark enough the first time round, that's no big deal because you can always add in some more afterwards. But it's very hard to take it out, subtract off that, if you're not careful. Here. I'm going to try to also get in these distant mountains here and maybe just get it to blend into the background there. Yep. If I can paint things all in one go, that's always that's always a bonus for me. I want to make it more kind of bluish these mountains here. So I'm just adding in a little bit more kind of ultramarine in that area. This might spread upwards a little bit, so it does help to hold the paper a touch. Just want that to look kind of like a mountain there in the distance. Okay. Good. I'll cut around this block of ice. Oh, snow. What have you there, go around underneath. Okay. Great, great, great. Now, let's continue to work into this area, dropping in paint. Alright, like this. And this is where the little brush is going to come in handy because I can pick up some, you know, a little bit of paint like that and then create these kind of marks on the page that kind of look like branches or tree trunks. And I'll pick up paint that's quite thick and then drop it in. That's This area unfortunately has not dried properly yet, so it's you have to be very careful when you pop painting so that it doesn't, um doesn't spread too much. So that's a little bit there. You've also got some shrubs and things here in the background. If you look very carefully, just some kind of little shrubs and stuff growing on this area of snow. I'll use the fan brush for this to, you know, make this effect quicker. Um, around the tree, I like to not tree around the house. I just like to darken more. And this is really here to cut around the rooftop to make it look more in the snow. Sort of layer of snow caked on it like that. Around this side, as well, I think would look nice. Here. Same thing goes for this one. You know, this paint is starting to dry, and the page is becoming kind of damp, which is good because that allows me to get in a bit more, again, contrast around these houses. And we can work on these sort of sharper sections as well further down where the snow is. So, you know, just sort of flick this up a little to get a bit of that sort of snow like effect. Um, Around this side as well, I think we could do with some extra bits and pieces or just spray this little, yeah. Just a clump of these trees here. Bit more extra darkness in some parts. I mean, even here that could do with a bit of darkening out the back as well, bit more blue in this mix like this. There we are. But I'm leaving also, as you can see, a lot of the white of the paper. Okay. And here, it's kind of just kind of drybushing some of these little shrubs and things grow near the house and kind of go upwards more like that. All right. Okay. I'll drop in a bit of pains gray and some brown around here. This areas pretty dark. It's just I can't look a real dark value. You know, I had wet this area before, kind of pre wet that area before. I might have to do it again quickly. That. It's kind of this little shelf that they all sit on to show the elevation of the land. Okay. Now, with the flat brush, I'm going to just bring down this wash a little with some leftover gray on the page. I will actually drop in a little blue as well just to make it, you know, a tiny bit more cooler down here. Yeah, I'll drag all this stuff further down. We might have to add in some more paint as well afterwards, but this will do for now. It's kind of lighter down the base compared to the top Okay. Good. Around this time, I like to pick up a bit of tissue paper to lift off perhaps some excess paint, bring back a bit of white. Bit of white onto the scene. Anything that we might have lost out. And the first thing I can sort of pick out is maybe here, you know, here, we've lost out a bit of that white. So sort of just rub away a little bit with tissue paper, you know, a bit here as well. It's all nice and soft, so you can't really make make this out much, but here as well. Because when you do a lot of this wet and wet work, unfortunately, you're gonna get parts that just blend together too much. So yep here around the houses, like there as well. Okay? It's just going to increase that sense of snowy sort of look. You know, even on the edges of some of these parts here as well, I can soften off a bit with the tissue paper like that. Great. It's all starting to slowly dry off. And yeah, at this point, you can just keep doing the same thing, just picking up some more color like this and just dropping it in. Just for those darker trees out there though putting in a few more would be good. You just layering over the top. It's all you're doing just layering over the top to create more contrast in some areas to get more these sort of trees, just round shapes in areas to indicate the trees. And you're not doing it in all areas as well, some areas, you know, that you think might benefit from a bit of extra bit of extra color. Yep. I think it's mainly those, some of these trees here in the front that could do with another layer, for sure. And not to mention, of course, some branches as well. So tree branches or indications of tree branches. This is just some dry brush of these maybe some little shrubs and stuff near the bank. I can also just do this. I'm going to just kind of soften off this edged little with the brush. Create a bit of dirtiness in there just to make it look like, like a proper bank, I suppose, and even darken off a touch, as well. In some parts, I just feel like it hasn't really come out properly, so some extra darkness there is going to be good. Brown may be in here. Yep. Good. Sorely needed sharpness in this area when you got all this wet and wet work, just a tiny bit of sharpness all of a sudden just brings it out of this area. It's just the more here underneath as well quickly. Like that. And I'm going to actually just tilt the paper downwards, do this sort of thing, just drop in a bit of paint and let it go down the page to indicate some reflections in the water. Really soft sort of reflections, as well. I don't want to overdo it. There's even a little bit of that one back there, but you can't tell. You can't tell, really. Just dropping a bit of that sparkle. Just a bit of spray work on there. And this is hopefully just going to give it a bit of a speckled defect, as you can see, just makes it look a bit more like there's some textures in there, create some cauliflowers. Okay. I'm going to work a bit on these houses now. And really for the houses, I'm just picking up some brown, a bit of brown, maybe some red mixed in there. So we're going to do this. Just get in the sides of these houses with a bit of darkness. That's probably a bit too much. Okay. It's a little round brush to do this. Yeah. And then the right hand side of the house, we're gonna need to do that bit as well here. Okay. That's it. Now, this one here, let's get this one in as well. Same color this brownie sort of color. You'll notice at some points it may mix into the background. That's not a big At some points, you'll notice it mixes into the background. That's not a big deal. But you just want to make sure you, uh Yep, you've got in that bottom part of it. Like that. The background section here as well. 42. Norway Finishing: More of that brown underneath the house and in this sort of section here might actually make the roof this part of the roof a little darker, kind of like a lighter brown, so, but still a lot, you know, darker than the background by a touch. Sort of needs to blend downwards in there. It's mainly this, um, Yeah, it's mainly that rooftop that really needs to be exposed. Some of some of the colors spread into the background for this house. Lift off a touch like that. Not a big deal. Another thing I can do is just sort of fix it up and add in some extra darker paint back there for, you know, maybe another tree or something here and here. At this point, a lot of this area has started to really dry off. So, you know, anything that you add in there is going to stay put a lot better than before. So yeah, it's kind of like a finishing touch section to add in some last little trees and things running through here, um, I will work on adding in some quick marks for tree branches, a bit of brown and a bit of black paint. You can see here, you can just imply that. The And again, these little marks going to make a big difference in the final product because of how there's just no sharpness really in almost this entire painting. So any small marks like this are going to certainly show through and look more interesting, contrasting, you know, just a lot of these vertical little vertical marks just running through these trees, quite important to do a few of them. And yeah, like I said, I'm picking up the paint is just really dark paint. There's not much water in it, maybe, you know, 15% water, Max. Okay. Drop in a bit more. Darker paint at the bottom of this sort of area. Just to really outline it more what kind of one last ditch attempt to bring it out. I'm just going to take another brush and just scumble the brush a little bit, dry it off first, and just here I'm just scumbling the brush around in this area that's white and has a lot of snow just to create some texture that could be interpreted as rocks or something, you know, just running across this section that line kind of it looks a bit harsh. So this is the only way to really do it. Pick up some dark paint, dry off that brush on the page on a towel that you have and just dry brush. Along in this sort of fashion, yeah, it's tempting to overdo it. It's difficult, but just a quick little thing like that will help to bring out indications of rocks and stuff sitting on the snow. You know, another thing I want to do is maybe get in an indication of the reflected light from the roof, as well. What I'll just quickly do as well is redo some of these ones in the background. You've kind of lost lost them out in the back there like that. A lot of wet and wet work, and this is fun. It's certainly saves a lot of time when you're painting. Another thing you can do is scratch out details. So I've got a little pocket knife here. I can that's already kind of wet, but you can do it in some other parts like of that roof, wherever you go, maybe here. There's, like, a bit of detail there. There there's also some of these trees and things that might be a bit lighter, some areas like that. Even here, where there could be some snow, you know, just intermixed with some of this darker stuff, it kind of helps to break up this little area here of the bank. Okay. So more verticals, kind of breaking up that color. I'm going to pick up just a bit of guash, lighter white paint mixed with some gray. And for that, I'm just going to drop that in here to create a little impression of a reflection going down the page or some of the snow. You can see here even it's like, you know, it's quite you know, you do see a bit of it. So I just want to drop it in, imply it. It's not going to look as light as this once it dries off. But it's going to be enough to, you know, give it an impression of this sort of reflection, this lighter kind of reflection running through, going downwards. Yep. Helps to break this up a little bit, as well, so it's not all the same color. So little finishing touches I want to put on to the houses now, just the final touches. I'm going to pick up some really dark paints, just black. And we're going to go through and we're going to go through and just add on some finishing touches some black paint. So firstly, I'll give it a quick dry. All right, so got a window here, just darker value window or something like that. Simple and underneath, it's actually darker. It was kind of like a darker brown here. So I'm going to just imply that with a bit of paint in there so that area sticks out better. I think it also helps to go into these little nooks, tiny bits of the roof to outline the edges of the roof as well, like that. Help bring it out. Even underneath here, that could be like underneath that snowy sort of bit, another window there, another window there. And there I want to mix a bit of white into this quickly. There is some kind of verticals running down for this area of this jetty or whatever, like that. Take a quick look back back to that darker value here. Okay. Yeah, this other house needs a bit of tweaking, so just a touch of that black underneath the rooftop here. Like that. Um, a little window up there, one quick touch up there. A couple of windows on the side, maybe underneath the rooftop, we could just outline a little detail like that. I'm just trying to get a few more of this sort of marks on the page. And I'm going to grab the Filbert brush up. You don't need a Philbert brush. You just need some brush that you can scrub with. And I'm gonna pick up just some water and clean water scrub onto some parts of the page and just lift out where I see maybe a bit too much sharpness or an opportunity to recover. You know, it's not the white of the paper, but as close as we can get to the white. The paper, sort of like a softness in areas. And there's opportunities also to soften, you know, there where you just feel the edges. The edges just a little bit too harsh. I want to soften this edge like that. Maybe this one here as well. It's just some water, scrub a little bit lift off. A bit at the bottom of this house, as well. I think I could just do with a bit of lightning there. Okay. We'll dry this off, and that's finished. 43. Porvoo Street Drawing: Right, let's start with the drawing for this one. And you've got a completely vertical scene like this portrait style scene, which isn't usual for a lot of my work, but we're going to simplify this down a lot, and we can see here this is basically where the buildings touch the ground about here. We've got a larger sort of building coming up here to the right. Now, I'm actually going to make the windows pop out a little bit more. So I'm going to put the windows, like, roughly here so I can see the entire sort of two windows. You've also got here this rooftop that runs all the way like that, and then down the side of the building, you can see here and then sort of pops in like that. That's the front of the building. Little separation here. Here's another. I mean, this actually could be a door or something further down below, whatever it is, I'm putting it in here. Okay. A lot of this stuff is just kind of going to be in the dark, so there's no big deal there. And what I like is that there is this house here, but it's kind of obscured a little bit by the yeah, by the Yeah, it's kind of obscured a little bit, but I'm going to just extend it out a little bit, so have that kind of come up like this and then like this, maybe, and then go behind just to get more of this yellow house sort of popping out. Okay? It's a door or something here. There could be another door there like that. Of course, the rooftop, just a bit of that structure. They call this a saddle roof design because it looks a bit like a horse saddle. Okay. That's it there, that house. Now, all the buildings in the background kind of in the darkness. You can't see too much going on there. And, you know, we can probably start with these ones. There's one building coming up, cropping up to the left. Let's bring this all the way down to roughly here, maybe. Okay, there's another one just sort of cropping up behind there, and again, like this. And there's a couple of these interesting cute little houses with these triangular rooftops like that, which we can quite easily put them in like this. Uh, this sort of section there has more there we go. Little part like that. There is actually some kind of shrub here or something, but I'm going to leave that. I don't want that to be there at all, just to simplify and also to bring out the light on these buildings more. There's this kind of really bright yellow building there in the background. I'm going to put this one in. This is really an important part of the scene, I think, this building back here. Okay? So I'm gonna make it kind of come all the way out like that down roughly here, something there. There is a sort of rooftop, a bunch of things on the rooftop, like sticking out like that, and, you know, a tower of some sort, some dome or whatever there, and then a chimney here. Okay. Simplify that a bit. You've got windows, of course, running down the side of the building. You've got a little it's like a shade or something here. Yep. A little shade of some sort. Just let me redo this a bit. Okay. I might have to zoom in quickly to have a look at not that. Yeah, it's kind of like, like this. There. Okay. And, you know, you've got smaller shades below here of this, you see there, this sort of these sort of little shades there, that sort of join on to the building itself. Um, whether I actually want to get that shadow in there or not, I think I'll make a general shadow going over the top. That should be enough. Um, good. Yep. The rest at least we can sort of wing it in there. Okay. Now, I do want to also put in some figures, some people walking through there. So I reckon a good place to put some figures would be. Now, this is interesting because we've got the light source coming in from there, just in front of that house, and I'm going to make this light source a lot more obvious. So I'm going to actually make that go away like this, so it's kind of yeah, most of that building is going to be just covered in light here. I've got to really plan this one out as well. So the light goes up there, and then you're going to have shadows maybe surrounding the light source. Oops. It's a bit of these perspective lines, they're not so obvious these perspective lines because it's kind of a path. As you can see, it's not a yeah, it's not a really neat sort of perspective line, but yeah, vanishing point is somewhere over there. Yeah, and I do think, yeah, a person here, just kind of standing or perhaps walking into the scene, that would be good, because, yeah, that light source that's gonna help to create a bit of a shadow or something. We can have another person standing here and another person perhaps here, you know, also perhaps walking into the scene or just standing around like that. So a little bit of shadow running there. And I reckon also perhaps another person closer by here in the front of the scene, also helped lead the lead the viewer's eye into the scene. And some smaller ones also help here in the distance. Okay, so just brings some life. 44. Porvoo Street Painting: Okay, time to get started with the painting bit of yellow, really bright yellow back there. No mucking about at all. Sometimes a bit of white in that yellow helps to dull it down a touch, as well. If you want that, I tend to stay away from things looking too gaudy these days. So yeah, just a bit of that color, that yellow on the building like that. Gonna go all over the entire building. Where does it stop roughly about here? Comes down. Um, and these buildings also have some yellow running through them, which I'm going to have to get in quickly like this. Let's cut around some of these shades as well. I might actually, I was thinking of getting them in just also yellow. Why not just simplify it down. Okay, there we go. Those. And then we've got this house here, and I might change up the yellow a bit, just make it a bit more creamy colored, okay? It doesn't look the same as the other one. But there we go. A bit of that creamy color here. In terms of all this other stuff in the background, I'm just going to just put a bit that same creamy color back there as well. And foreground. I'm going to pick up a bit of Pain's gray. Maybe for this building, let's go straight into the rooftop. Now, the whole point of this first wash is just to get in really light colors. The other darkness, darker colors I can work on afterwards. So purple, I think might be good through here because we've got all these yellows, so yeah, a bit of purple might be nice. Um, but also a little bit of light perhaps, you know, peeking through in areas. And the purple and the yellow really go together nicely as complimentary. So yeah, that could be something. Let's just bring this down like that to the ground. Okay? Another thing that I need to do is make sure that this light source here is really apparent. So here, where the lights coming in from the right hand side of the scene, N that, definitely. Sometimes on the edges of the buildings, if you put in a bit of this yellow, it will signify that there's some light running through, even in these little shrubs or whatever. So I'll do that. I reckon I'll leave this building white. Yeah, I reckon I'll just leave that building white for now. And the rooftop, you can see there's some darker marks just to indicate. Um, yeah, the rooftops here, so I'm just gonna drop in some color. Alrighty. Looking good. Back here, it should be a little darker, as well, perhaps. Just pick up some gray paint and drop that in here. It's still yellowish, actually. So let me grab some more yellow. It's kind of like a darker yellow. Here. Um, there we are. Sort of. That's better. Just more of that yellow paint in there, so it still looks yellow. Um, yeah, you get sort of some parts that bleed over, lift off in areas. If you need to, you can use tissue paper for that as well. Okay, I'm just looking to see if there's anything else there's anything else I need to really paint on here. I don't think so. I think we can, um, maybe put in perhaps a bit of light, might be better just to color this whole building in that same kind of yellowish color as well, part of it here just to signify that light. Dull this other stuff down. I thought to kind of leave it white, but it might be better this way so that the light, which is kind of taking on this very vibrant yellow color is still going to be able to show through and be consistent throughout the entire scene. So over here, I'm going to put in some darker paint. This is just some neutral tint. I've already put in some purple here as well. The purples going to help. Let's see what we can do. So this maybe. I'll probably have to redo this afterwards. Anyway, more of that yellow. Join it up here. Okay. Top of the scene, let's drop in some water first here. Drop in a bunch of water and maybe leave some of the white of the paper exposed some sharper clouds. Bit of purple here. Bit of purple. Too vibrant. Let me dull that down a bit something like this. Okay. I want to create this kind of complimentary color look. I mean, you can see there's lots of yellows in here, so purple is it's a great complimentary to put in there for the yellows. Okay, cutting around the buildings as well, trying to maybe get in some sharper clouds or something in there. It is tricky, though. Yeah, just to imply that maybe there, I could get something in. Still need to cut around this building. It's better I just colour it in. Ah, let's go here. I'll leave some white there. Here, up the top, we'll leave some white this large section up there, perhaps. And we're going to grab some cerulean blue. Just drop that in here. Just a bit of cerulean to create just some of that sky peeking through that area. This area is looking decent as well. I'm thinking I might actually just leave that as white to indicate the cloud, like a lighter cloud showing through. Yeah, this is just kind of a bit of fding around work to create more variations within the clouds. Okay. Bring that cloud a little bit further down perhaps like that. Okay. Quick dry off. 45. Porvoo Street Finishing: All right. So next step, we're going to put in this shadow coming onto the building, and I think I will actually use a large round brush and also a large flat brush. And I'm going to mix up a nice sort of juicy purple, bit of blue, bit of neutral tint, bit of brown, just to create a more slightly more purplish shadow. I'd say the painting the paint mix I'm using is about 20% paint, and the rest of it is water. So it's, you know, pretty pretty thin still, but we want that paint to show through and look transparent as well. So yeah, just keeping it nice and thin, but, you know, it's still going to be dark, of course, we've got all this, yeah, we've got all this dark value in there. I'm going to drop this in straight here. Let's have a look. Now, this is the line that you can see here that I drew in before. I want to make that just go through like this, just to make it look like the light has popped through. And, of course, you can just follow the sort of this sort of pattern of the shadow in the reference photo coming out. You know, you might have a bit there, and then this bit here is definitely the part that touches the building here. Let's get some more here. Okay. This is also going to join up a bit with this building to the right. And the great thing about this building to the right as well is that there are, as you can see, some bits of light and stuff showing through. Then if I just kind of lightly brush over the top, I should be able to indicate that light. Okay? So that's the a sort of area underneath the roof. And then the rest of it is just gonna be pretty light and, um, drawing that up like this. I actually looks half decent. Leave that as is. Um Now, can this bit up the bottom, as well? This figure there we'll have to put in afterwards. This kind of house, as well, I'm kind of thinking, Hmm, would be good to have some kind of maybe shadow running across it. In areas, anyway. So see if I can just maybe spray a little bit of water on there to encourage it to There we go. Just to encourage the paint to mix a little bit once I get it in. So another mix of this grayish, purplish value. Okay. If it's too purplish, just add in some brown. Okay, so there we go. A little indication of some light on this building, maybe by an object, Man over from the right. The a a bit of the shadow underneath the rooftop like that. I mean, you could probably get away with putting a bit of just carrying it all the way through like this. Soften this down. And as we go further down, this is where I'm just really going to be careful to make sure I don't go over this nice sharp indication of light here. It needs to be bit darker, like that. Good. Where is it gonna stop maybe here? Goes through the legs. Simplify this down. Even though these figures are in the light anyway, I'll fix them up in a moment. Here, you know, look, it's kind of this shadow pattern, I suppose, that I'm trying to get in on these buildings and also at the same time, cutting around the figures, you know, creating a bit of this kind of interesting shadow pattern on the buildings to the left. Okay. Make this one go up a bit more, this bit of shadow. Like, it should perhaps continue on touch like there. Uh These buildings here in the background as well, you know, you can also create a secondary little light source. See here, I'm just creating another separation in the light like that. We know this whole area is kind of, like, going to be darkened. Then we might have some light kind of coming through the top of these areas like that and over the top of this one. A building maybe over on the right. Okay. Continue on. This whole area here out in the back, I'm going to just do the same thing, darken off parts like that. It's all it is is just darkness, really to help bring out the light on this scene. Okay. I kind of don't mind how this one looks at the moment. It's a bit, you know, maybe some of this, yeah, like that would be better. Yeah, that looks nicer. The shadows coming more from the right hand side. I think this shadow is not dark enough. Just re apply some paint. Don't normally do this, but, yeah. Sometimes you just need to Okay. Smaller brush I'm picking up some of this same paint. And we can go through and detail some other parts of the scene like this rooftop. It's kind of like a brownish color. I'm going to put that in just get that to blend like this. Let's do this one here as well. There what do we have? What else do we have in here? There's actually a bit of shadow inside as well there. There and, uh, down. What's this one? A bit of darkness here. You know, just sort of picking up bits of paint and darkening in areas that you see fit these windows or whatever coming through like that. Kind of see on these buildings as well, there are some lines that sort of run through the buildings like this, the style of these buildings, they're just made with these planks of wood. So a bit of that I think is going to help keep this scene looking more interesting. I didn't mean for that to go over into the light, but it doesn't matter. It's not a huge deal. You know, you can see how it's kind of like this one point perspective, like, scene now. I'm just bringing some of these lines through the painting like that so that it looks like we're walking through the scene a bit. Well I can, I think I'm just going to try to lift off some of this stuff here. Might be able to do it. Okay. It's not a big deal. Okay. Flat brush and some extra darkness underneath in this section under these shades, like that. I'm just kind of yeah, trying to darken in some parts where I see extra contrast. You know, these windows as well kind of need a bit of bringing out. This is like a could be a door or something, actually. Yeah. Here, just some of these stuff. Darken the roof a bit like that. All I need to put in here, you know, you can put in some of the windows as well if you want. Um, still not sure whether this is actually a door or window, but the color in there is gonna help. Some green here for these, like, trees out here, just sort of at the side coming in. And this will help kind of also form the barrier between the, you know, little barrier between the house. Good. Anything else? All right. I think I'll put in some shadows for the figures and some colors for them as well. So I'm just picking up a really dark value, just more of that gray. And put the legs in of this one here first here, just kind of like that. See? Oops. So I'm walking a bit funny. Let me just straighten that leg up a bit there. Okay, it kind of looks like that figure's walking towards us here as well. A bit of that darker value for the legs for that figure. Um, and this one here as well here. What else? Like couple back there, so standing around. Good. And a bit of lighter value for the shadow of this figure, kind of running to the side like that. But connecting on to the legs, same with this one, a bit of shadow there and just yep, going up a little bit there. These ones, too, so it'll be shadow to the left but These ones in the back, pretty simple looking shadow. Quick dry off. I might actually add in before I do just a bit of, I don't know, some color for this one. This is like a kind of lilac color. The others don't I don't know. It's up to you if you want to put in colors, I might put in cerulean blue for this one. And these two, I don't mind how they look, actually. I might leave them as they are. Maybe this one, I'll put in a bit of blue here in the back. The one on the right, just kind of leave. Okay, dried off. Okay, some final finishing touches now with a smaller rig of brush. Just go to pick up some of this leftover grayish paint and put in some of these details like this of that building. You can see like that. That buildings already got some of that detail in it, but maybe this one could do with a few like that. Let's have a look. What else do we have? Looking half decent actually. It's really, I think the last dark bits and pieces. So more of this gray, this really dark value. I think I can just do things like go into these little corners of areas. I want to create extra darkness in that door or something there. There's also some other door here that I can just indicate. But behind that figure brings out the figure more. I'm careful. Kate, here, maybe there's a bit of something going on. That side of the building. I don't know what that is. It's more of this detailing for the window windows, extra kind of darkness underneath these shades. You know, I don't have to be much, just a little indication of that. Um, same thing goes here as well behind this figure because there is some darker parts behind as well, which you can just use to cut around this other figure. I'm sure there's windows here on these two little houses as well. Okay. I did notice this bit here could be a touch darker. So I'm going to add in a bit of gray paint, darken down this side, so it looks like there's a proper shadow here. Yep. Drain it on a bit to the rest of the scene. Be architectural detail for some of these other buildings again. That looks Okay. And some titanium white mixed in with yellow for some little highlights, maybe here on the head or the shoulder of this figure. This one will probably look best. There you go. Good might be sort of little spots where I can indicate some bits of high light see just running down the side of this building perhaps. Just something here, maybe here. It would be a sign or something. I don't know. So bits of yellowish color as well to maybe break up, um this darkness running through. But apart from that, I think we are finished. 46. Lofoten Drawing: Let's get started with this drawing, and I really like this scene because we've got these distant mountains. We've got all these little houses, ice cap mountains in the background, pretty much everything you need for a nice little mountain scene. This water, I'm going to try to sort of downplay it a little bit. I don't want it to be Yeah, I don't want it to be too too obvious. So yeah, let's put in the water line roughly here, okay? There's just a little probably like maybe an inch and a half down the base of the page. Now, the most important thing to do with this scene is to get in the kind of line of these outline of these mountains. Now, this one here comes in from the top, you can see here, and it comes almost like straight down. Where does it stop? Roughly maybe here. Okay, there's some trees that go up and then come down. And then you've got another kind of one that just goes up like this round about to the middle, just above the middle of the page. So round about there. Okay. So we've got, yeah, basically these two lines. Now, just quickly erase this bit first. I kind of just accidentally drew a line that was beneath it. And now what we want to do is get in those mountains in the background. So, you know, again, don't worry too much about all the tiny details. We just want to make sure that we have some uh, yeah, some of these mountains positioned in the back, okay? And you can see, it's kind of on the right hand side, you've got the, you know, the darker parts of the mountain come down here. In the back here, there's these sort of ice capped mountains, and it's very difficult to actually see where the sky, yeah, hits those mountains. I'm not too fast because, you know what? I'm going to actually, uh, yeah, we're going to actually cut around these mountains a bit more than is seen in the reference. I'm going to actually maybe add in a darker sky to make those mountains really pop, especially those white parts in here. So, as you can see, I'm just doing a little bit of shading, bits and pieces. This sort of part here, you can see here there's another sort of ice capped part of the mountain that goes up. But before that, actually, there is this kind of mountain. I've almost forgotten about it, but it's here. Be about here actually, comes up. Then it just sort of goes up and disappears off the edge of like that. Okay, this one kind of comes up there. You got this sort of bulgy bit there, then it goes across like that. That's pretty much it. Okay? There's some darker bits. There's also this kind of mountain here that's just in front. Also bits of that brown, I wouldn't say brown, but it's almost like a cool color, isn't it? Like a bluish color there in the back. Those are the mountains out here in the back, okay? That's all we want to do in terms of the drawing. And, yeah, I do notice there's some little bits in there as well. That's just outlined this mountain a bit better. So those are the main mountains. Now, what we want to do here is just start adding in all these little houses. And there's so much going on here. You really just I'm just going to be drawing and not focusing too much on all the little details, but just kind of like houses here near the bank, okay? And, you know, you can just pick them off one by one. You know, you've got that kind of triangular sort of roof at the back. You know, it's just kind of I don't know. I don't even know what that is. That could be some smaller structure there. Uh, you know, there's a lot of the time, you don't need to put in too much detail. You just need to imply that there's a boxy sort of shape there. You know, here, even on the on the actual Here, you know, on the bank, you know, you've got some more of these. And I'm really trying my best not to overdo it because it can you can fall into the trap of just then having all this detail in here and then not having fun at all when you're doing the painting. So, look, all of this is just see you got this sort of white sort of buildings there. And they also have a roof running towards the back like that, like that, you know? Where else? You know, they're just, like, smaller sort of shapes. I'm just going to I'm just going to draw some of them in and not worry too much about all the little details because at the end of the day, at the end of the day, we want this to be balanced and not be a scene that's just filled with unnecessary detail, bit of harmony, and that's what happens in watercolors. You need to simplify this stuff down. Even though it looks good in the photograph, if you draw all of it in, you're going to have too much detail. It's going to stress you out when you paint. Okay? So if you got a little idea of what you know, these houses are, you know, just draw them in, space them apart a little bit as what you see here in the back, there's a few more. Sitting there. Look at that. There's a rooftop of some building there. I'm going to just get that in. You know, that's all it takes, something like that. Some more of these kind of white style roofs like this. Look at this. There's one even here. It's kind of, like, like that. Oops. I've made that roof go a little bit too far out. You know what it doesn't matter. I'm just going to I'm just going to simplify this down, and you know, here as well, there's, like, another one. You know, all in the back here, you can sort of see smaller houses, but there's not a whole lot of detail. There's these roads that connect them up, as well, you can see just going up kind of into the hills, like that. There's even a little I can see, like, a little road there as well going around this area, so I'm just going to quickly indicate something like that. There's all these trees as well running through this, and you know, I'm just going to draw a few in, but to be honest, a lot of this stuff you need to put in with the watercolors anyway, okay? Here's that road coming in here goes all the way to the left hand side of the scene. And you can actually see part of the road seems to go around and up into the hills and stop about here, you can see, it just sort of stops, and then you've got tiny little houses just positioned here. I can barely see what they even look like. But I'm just going to put something up there, okay? A little bunch of houses there. Okay, what else? You know, and around you've got these trees, you know, all around. These trees are a little bit darker here. Great. Some here as well. Another little house here. And in the process of actually putting all these trees in and cutting around and stuff like that, I'm going to put in sort of cut around these houses as well so that it's not just, so we're not detailing too much on them. You know, so here we go. Here's the area where the houses sort of touch the water, and you can see there's all these sort of downward reflections and things. We will get that in later. But let's get started with the painting. 47. Lofoten Painting: Going to be going into these background kind of mountains, and I'm picking up a bit of ultramarine blue, and I'm mixing it in with a touch of green, as well. Okay? But it's mostly kind of ultramarine blue. I want there to be a nice, sort of darker value and cooler value as well there in the background. Okay? So let's just go ahead and I'm just dragging this brush through the scene, as you can see here in kind of a randomized sort of way to just imply some of these this right hand side of the mountain of all the, you know, all the sharper sort of detail. I'm just trying to make sure I've got enough paint on there, as well, so that I can kind of get a Nice dark sort of impression. Okay? There we go. That sort of connects up. And there's little parts, as you can see, that sort of join on as well like that, that. But you've got mostly all these ice tipped areas on the left side. All right. That looks decent. I'll just go up a bit further in this area as well. And I think another wash over the top might actually strengthen this effect better, but this will be good just as a beginner to just get started, more moving downwards. Notice how I'm just sort of scumbling the brush across the surface to create some more, yeah, just sort of different marks in here, so it's not all the same. This bit's almost a little bit too dark. Let me just re do this. That mountain has, like, a tip, that's, like, here. Just gonna change that up a bit. Okay. Good. Yep. This is what I mean by adding in a little bit of darker sort of marks through it while you you know, while the paint is wet, you can do this sort of stuff. Okay, let's have a look. Now, this sort of mountain in front here, it's it's gonna be a bit darker, this one here. So I'm picking up also a bit of maybe a tiny bit of brown through here and more of that ultramarine blue. Let's just go ahead. Let's do this. Okay, and making sure it blends on here. Yep, that's another bit and there's a bit of ice there maybe something coming down here. Uh, you know, joining up here as well. The Okay. Great, great, great. Fantastic. So now we're going to go through and just start working down the page. And I'm going to pick up some green and also some brown to dull this down a bit. But mainly just greens and browns. And here, I'm also going to put in a bit of blue because it's still I mean, if you look at it, it's still kind of bluish back here. And that's what happens. When you move to the back of these sort of scenes, yeah, you just end up further along the back, you get more coolness. And I just do that kind of atmospheric atmospheric style effect. That's what I'm trying to say, atmospheric effect. Okay. Just move this across, move that down. What's the SR? That's nothing. I thought that was some Something else. Okay. Let's move that down now. A lot of these trees, remember, we're going to be able to get them in afterwards, so don't stress at all. But yeah, just make sure you've got a kind of combination of some browns, some greens, and some blues running through all of this. You know, Oh, I've picked up accidentally some neutral tint too much of that. Just put that on the left hand side there. Gonna need that later on. Okay? So more greens. This is a darker sort of green, though I do have a few other greens. And the concentration of this is probably about 20% paint. The rest of it is water. And here I'm just going to try to put in a few indications of some trees there in the background and hope that they kind of they melt into the back. I'm also lifting off a bit of paint here because I realize this right hand side shouldn't be as dark. So yeah, this is a really fine balance where you're just, you know, you're trying to get in details, but at the same time, you're trying to blend things together so that they look natural. Okay? So over here, let's drop in some more of this green, and I might use my mop brush, actually, for this because I'm starting to run out of paint on the brush. With that flat brush. Okay? So these trees in the front are going to be a bit darker. So we really have to make sure we're getting them in with a bit more strength. And so they kind of go around the mountains as well. You can see the tree line is about here. Okay. That's it. Just keep going. There down. And this is where we kind of got to be a bit careful. We've got to cut around all these little details, all these little houses in here. So all I do is just kind of leave a bit of leave a bit of the white on the paper for that. This little road, as well. See, I'm just trying to imply that road by cutting around cutting around all the buildings and this sort of edge of the road might disappear afterwards. I don't know. Okay. Bringing this whole wash down the page, not letting it dry to a funny edge. It's kind of happened here, but you can sort of get away with it and continue blending. I like this sort of edge that I made before. Try to lift off some more paint in this area to create a bit of a as you can see, just a little bit of a difference in value. So this area is going to be lighter and then it will start getting darker kind of around there, maybe. Maybe lift off some of this stuff as well here. Yep, good. The rest of it, I'll let dry do its thing. The rest of this is just all kind of cutting around kind of work. I mean, I've got still some different greens here. I'm going to pick up some of these greens. Let's go ahead and continue downwards like here, for example, I'm going to just darken off in some areas a bit more, but mainly, yeah, the trees and stuff, we're going to have to make them dark later on, but we can still, you know, go a little bit darker as we get down to the front because this is going to help imply the foreground that we're getting a bit closer to the front of the scene. It's this here. We've got this kind of house here, kind of tricky this bit because you're cutting around, but at the same time, you do want this to look natural and yeah, just unforced. So yeah, if you do go over parts of the house, that's not a huge deal. It's not going to ruin the entire painting, okay? But just make sure you are leaving in some of the yes, some of the the previous white of the paper moving further down. Okay. And while we're carrying this wash down, you see how sort of nice and soft this all appears appears kind of as one big wash, which is important so that you are implying sort of like this same area of grass and trees, okay? Going down the page. Okay, here, let's cut around this house. Let's cut around this one. I know some of the houses do have some colors in them. We can get those colors in afterwards. That's no big deal. But for the time being, the thing that we really have to focus on is just getting this washing, cutting around all these houses and things while the paint is still wet so that it doesn't look too disjoint it afterwards because yeah, when you have too much bits that sort of dry off and you haven't cut around them, it will just look a bit funny. So yeah, this flat brush is great for this kind of work, by the way, because it's already the same type of Shape, as you can see, ends off in a sharp sort of edge there, which is perfect for cutting around buildings, okay? And here I am just dropping in a bit of paint here and there. A testing the waters because we're going to need to put in a few little trees as well through that area. Before I do, I'm going to just pick up some of this neutral tint, this darker sort of paint and feather this into the edge here of where the houses are, right? Because the paint is still wet, so I want to do this now so that it blends, looks more Looks more natural. And as we go down, I'm going to mix some of this green into the darkness, okay? And just sort of drop that in there. That's some more green, maybe. It's kind of like a 'cause everything above there is green, so everything, you know, below is going to be also kind of reflected a bit in there. Um, and I'm not bothering with the white reflections just yet. We'll get them in afterwards. I just want to do this right now so that we can make sure we've got in some nice sort of wash that runs through the entire scene. Let me just pick up some bit more green with my mop brush. Your mop brush is basically your go to brush. I mean, it picks up so much water, as you can see, and that way you are not having to reload and risk mixing up the wrong color, okay? This is looking decent. There's probably a little bit too much water down below, actually, but it's okay. Let's have a look. I might just drop in some more darker value here near the edge, like that. Parts that may be sort of spreading and causing some problems, I will pick up this sort of tissue and lift off in some areas. Okay? I don't think it's really necessary for most of it. Yeah, you can also lift off paint in there, which we will do. Yeah, we will do afterwards or just get in some guash to imply that. But the important thing that I want to do now is get in some trees. And I've got a little fiilbit brush here. You don't have to use a Pilbet brush. If you've got other kinds of brushes, they will work just as well. But the filbet brush, I find is perfect. Because it has a kind of a blunt tip. So then when I go through, I'm going to drop in this kind of tree like shape. And this is really important when you do this to really pick up a lot of paint, make sure there's almost no paint on the brush, and then just drop drop them in like that. Just drop in a shape here, there, you know, and I also change it around. I'll put in some we got maybe some yellow. Drop in a bit of yellow for this one to make this tree like a little bit more, you know, different looking here, here, you know, as we go towards the back. Um, yep. You want all this stuff to kind of mix in, blend into the page, okay? And create sort of soft shapes here and there. Especially on this side, we do have some other trees and shapes that I really want to make sure we imply. There's a lot near to, you know, this road here as well, so I can just sort of put some of them in, and they don't have to all be wet and wet as well. Some of them will appear a bit more darker and sharper as you go through doing this, okay? But the important thing is that most of them should appear kind of a bit more lighter and rough, okay, more abstract. There's some darker ones back there, you know, as you know in nature, the trees come in all trees come in all sort of shapes and sizes, okay? So you use them to sort of mark the edge of roads and things, you see here, saw something looks like a road or whatever, and, you know, they grow around the roads because obviously the trees that were near the roads have been removed, maybe to construct it. So the trees kind of act as a, you know, as a way to sort of signify man made objects areas. You know, I'm going up here to the left, more of this green. You know, look at how I'm just dropping that in, okay? Now, this has caused a bit of a problem here. It's kind of a bit too much, but I'll drop in some more paint. This happens sometimes. The paint will spread just lift off a bit, continue on. You know, it's never perfect with wet and wet. Painting, you just sometimes have some areas that are lighter and darker than others, and some areas that are more wet, and it's going to cause some inconsistent sort of effects. So yeah, just continue on up to the top of these mountains. And you can see here it's kind of getting kind of damp and almost dry near the top of the paper. So the trees that I'm doing at the top, they are just kind of disappearing off and they are also not really blending into the page so well. That's fine. I don't really want to re wet this again if I don't have to. Okay? So what else do we have now? You know, there's some little trees here, for example, here, here. You know, I'm just going to go and ply them like that. One brushstroke should do the trick like this. Here, you know, there's some here, here. You know, that's like a little road again. So it's like, you know, you got some little trees around the sides of these roads. The trees become uh, you know, I'm just trying to make them different shapes as well. And not only that, you can use them to kind of cut around and imply extra contrast around some of these buildings, okay? So like this, you strategically kind of place them. At some point, I stop looking at the reference and just start doing my own kind of thing, okay? You know, just intentionally placing some of these darker trees behind. Yeah. But I'm not overdoing it as well. Good. What else do we have? So this is looking, I think, half decent. I will put in a bit of I thought maybe white here would be good. There's some kind of rocky area. Can you see that with this kind of rocky area here that I think I could imply like that. Um, the darker value. I have to be very careful with this, but I can just continue to just quickly imply underneath here. Tricky like that. Great. I'm going to pick up a bit of white, this isn't complete white. It's kind of like off white because I've got some other colors mixed into. 48. Lofoten Finishing: Drop some of this stuff in here downwards like this. All areas, but just some parts like this here. And yeah, as you can see, it's not really perfect, but it's going to be enough to imply these reflections running through. Below. Okay. Kind of create a bit of contrast in the water as well. I think the water could do with extra touch of darkness as well. It just looks too it just looks too light in some areas. So I'm going to just drop in some more of this neutral tint. It's kind of like a white value darker value mixed in with green. So yeah, a bit of neutral tint and green together. Okay. And maybe I'll leave the top or parts of the top kind of mostly untouched, but just maybe a few little brushstrokes running through. Yeah, I just needed a bit of extra darkness in there because actually, that reflection is pretty dark. Like, if you look at it, it's almost, if you look at that reflection, it is almost the darkest element in this scene. So Yep. Something like this. It's great when the paper is still wet. You can do all this kind of stuff and not worry about it, messing up your scene. Especially all these sort of white bits that I've dropped in there. That kind of looks better. Another thing I like to do is maybe drop in some little kind of wavy shapes like this, like bit of ripples on the water quickly, like that. Not necessary, but yeah, just to help break up that area a bit more again. So reason I feel like it needs some brown further as well here. Okay, fantastic. So I'm going to let this dry do its thing at the bottom. The actual houses now, this is where you can have a bit of fun and put in bits of detailing. You know, I noticed on a lot of the rooftops, they are this sort of, you know, brownie sort of color. It's like a burnt sienna color. So you can imply some of these rooftops like this, you know, paint them in. And yeah, not to make all of them the same color, but, um, yeah, you do see this kind of color going through quite a few of the rooftops. Others are just, like, a grayish value, so you can go in and just indicate the rooftops like this, as well. Little rooftop there, one here. I try to balance the colors so that there's a few different values with the rooftops. It's not just one color. And even some of the buildings, if you look at them, they're actually just dark in general. So, you know, you want to make some of them darker, as well. Alright. But I really like this burnt sienna color because it certainly it makes a bit of warmth makes a bit of that warmth pop out of this scene a bit, which is difficult to kind of imply. Up here, let's do that for these, you know, potential houses or whatever I painted up there. Okay. Do we want to put in some more trees, some darker ones? We could do. So here, maybe I want to pat them off a bit with your finger so that it just doesn't look so stuck on. Here, there were some darker ones there. So I'll just put some of them there. You know, what else do we have? Yeah, there's not really much of a shadow pattern. If you look at these, they're all kind of similar. In terms of contrast. I want to overdo it as well here in the background, but it's okay. Some more kind of roofs and things that we can just imply. Great. Me some yellow, yellow ochre. Okay. Now, what I'm going to do is now just sort of put in some little windows with a touch of dark color. It's really just black neutral tint, whatever you got here, just with a small fine tip brush. You know, I can just have a look at the scenes and just put in some little indications of windows, that kind of thing through the side. And you notice also the edges of these houses also got a bit of, you know, a bit of shadow running around them, so you can just kind of imply that as well with the brush. Yep. That so far away, you almost, you can almost just get away with whatever in here. Yep. But I noticed, yeah, if you do it underneath the rooftops, it really helps to make them come out more, look more like little houses in spots. Just don't go too dark. There's one there, but I couldn't really get rid of it. That's right. Mm. Small little ones back there. These little windows, they help a great deal in terms of making them look like houses. Just takes one little brushstroke like that. Now, a finishing touch I want to do, and I did mention this before is just to get in the sky and I'm simplify this down. I'm gonna make it kind of a bluish gray color. Okay? Bluish, kind of gray color like this, maybe lighter. Yep, like this. So that it's not too Yeah, it just doesn't create too much of a contrast. That's cut cut around all these bits and pieces here. All right? Look at that. This is just really important to bring out these mountains. I'm not even looking at the reference photo now. I mean, I'm just, um, trying to make the shape, create that shape of the mountains there in the distance. That one's kind of a bit difficult, but, yeah, that's right. Yeah. All in one go. It's the easiest way to do it so that it just looks more consistent. Yeah. It's almost the time of the day would almost appear to be, you know, near sunset, perhaps. So I think that looks decent. The next thing you might want to do as well is to just darken down some parts of these mountains to make an extra bit of, you know, extra bits of darkness running through it. Really up to you how much you want to do this, or if you want to do this. I'm just going to try it out, bring out some extra little contrast here. I don't want to overdo it, though. So make sure you leave in the previous layer as well. Sort of add onto it, you know. That's all you want to do add on to a tiny bit of detail like that, 'cause really there's only, you know, a couple of So looks like just one darker value in there, but I yeah, personal choice. Okay. And we are finished. 49. Copenhagen Bridge Drawing: Alright. So here is a scene that I took a photograph of and basically, you've got a bridge running across and some nice sort of houses there in the background and a shadow coming from the right to the left. So I thought this would make a really nice scene. We've also got some people standing by the bridge. So let's go ahead and firstly get in this area at the back where the water finishes off. It's roughly it's a bit less than a third of the way down, roughly about here. So I'm just going to draw in, you know, that water line. And then what I'm going to do is probably just work on this little area here, which runs right through the center of the scene, the start of the bridge, essentially. So you've got this sort of block here, it runs across like there. And then here you've got a much larger sort of block again like that, where the bridge is running down. So it's actually maybe a bit closer. Let me just, you know, really got to make sure you get the right proportions into all of this uh, yeah, like that. And then you've just got this darkness around here. But running across these little pillars, you've got here just a couple of these, as you can see, the kind of railing that is showing through. So this is going to be interesting just to imply it's more just leaving out, yeah, leaving out paint. Rather than actually painting much in there, okay? There's this sort of bit here, that casts a shadow as well underneath. I'm just going to draw this in quickly like that, like this. Almost like a lip on the edge like this. Okay, same there. And then, of course, the same kind of shadow pattern just blends in, and you can see, you know, around the around these pillars as well, it's pretty dark here. Okay? It's pretty dark. It's almost black underneath, okay? And here as well. So you've only got a little part of that, you know, little part of this pillar or whatever, showing coming out of the light. And what we can do here is just start working a bit on the bridge like this, okay? And simplifying this down, I'm going to just, again, drawing the bridge. We know it comes up roughly about here maybe a third of the way, yeah, third of the way into the scene, perhaps a bit less. Oh, bit more than third of the way is seen, actually about here. And I'm going to just draw some of these little verticals as well. This section here sort of juts out a bit more. It's difficult to see, but it does jut out a little bit more here in the front comes out there, and you've got some people just sort of standing by, you know, this area. They're taking some photos perhaps here. And they kind of you can see their legs almost behind the railing. There's another person here sort of standing by, maybe just looks like he's smoking a pipe or something, is he? No, that's I think it's a lamp or whatever in the background. Thought he was smoking a pipe. You know, these two people here. He's got a bag on like that, sort of just standing behind this area. The back end here is just, again, this sort of repeat of all this front sort of area of the bridge here as well, another sort of side there. So Yep. Fantastic. What else do we have? We've also got some more people here. You can see they just sort of the heads get a little bit smaller and go further down into the back there, but they are kind of just looking over the top, right? You've got some steps here that just sort of go down into this sort of area here. Maybe there's some people does look like there's some people here actually just sort of standing around, maybe talking over in the background. Okay. I'm being pretty loose with all this detail, and around it is just kind of darkness, okay? Now, let's get in these buildings here in the back. We know it starts roughly about, in the center of the scene. The buildings are about roughly here. And we kind of go up, okay? Let's bring some of them down a bit as well here. Just look at them as sort of boxes, I guess. That's the best way to describe what I'm doing. Uh Yep, this larger building here comes up. Leave a bit of room for the rooftop. Uh Yep, you've got the side of the building here. Yep, and there's all kind of separations in these buildings. You see, there's a ton of them really just running across, and this is going to have some light in that building there. Anyway, it's going to have a bit of light in it. But this one in the background anyway, and these little kind of chimneys and things that you can sort of put in. I'm not fussed on all the little details of these chimneys, something like that. The rooftop here is just comes up like this, and then you come down there. There's actually some more details on the right hand side. I'll simplify this. Yeah, I'll just Okay, I'm going to just draw this bit in again. So you've got the building here, okay? This main building with the rooftop, which is quite important, central to the scene. And then on the right hand side, you've got some little, you know, other parts of the building, you know, there there, yeah, good. You can put in details if you want. Little details. There's windows there, windows there. I like to simplify these windows down into just a few little marks like that so that it just looks looks more looks more basically simplified. Then you don't have to paint in too much detail. Even here on the rooftop, you know, you've got these kind of sections here. I got one, two, three, like that. And then that's kind of a bit of a shadow that almost cast to the left. Okay. And there's a building here, yeah, it's really just a darker building in the background. Not much I need to do there at all. I want to just change yeah, change the height of some of those buildings a little bit there in the background, simplify that. This is all going to be in darkness, mind you, all this stuff on the left side of the building. It's all kind of going to be in shadow. Now, here we have this main building here as well, so you go to break that come up. It's a little bit shorter than this one, but know that it comes all the way here, and then maybe you've got this sort of side bit there that comes down. That's nice. Like that, and you've got a window there. You've got a window here. There's this kind of part here on the roof, as well that just sort of sticks up there, this little window, like that. And the rooftop, let's try to get this one in coming up like that. And maybe like this. Okay. But chimney there on top, more windows there. Okay, what else do we have? We've got, of course, these other windows, one, two, three, four, one, two, three, four, down below, we've got some other structures, you know, little shade areas there like that. Another sort of shaded area here, maybe casting a shadow underneath. That's like a door or something here underneath. Yep. So just like darkness underneath in that spot. Also, I like to yeah, see these little umbrellas. Let's put some of these in because that's going to help to create light running across everything. It's just, you know, these triangular, like, shapes that just go all across. And actually, people are just at these restaurants. There's some other sort of funny shaped ones as well here. There's people just sort of sitting by. Let's just draw this in. It's kind of like the area where the boats on dock onto just around here. But it's also, you know, large sort of restaurant area. So you've got people maybe sitting down at tables. So we can imply a bit of that going on in this whole area, putting in the heads and shoulders, maybe a few little figures sitting down. It's really just scribbling in some details. Okay, another one in here, maybe Yep, let's have a look. Now, there's this building here's a shade that runs across like this, bit of darkness underneath. It's part of the building that goes up like that. There Okay. Now, this kind of chimney that goes directly up, another window there, some more windows running down the side of this building like that. And I'm going to go ahead and get in also some details for this little side of the building that runs down like that and then disappears off to the left. Okay? And you go to chimney there maybe, and there's more of this kind of these windows, one here, one here. Just getting to be that to the left and a ton of these windows. I'm going to space them apart a bit more, kind of like three layers of windows, one, two, three, four, okay. And I think this is a good enough sketch. Probably the last thing I might do is get in some of these lamp posts that I can see here. There's another one here as well. Running through there. There's even tiny little details like this balcony. I thought, why not put that in nearly missed that one out before. Okay, having a look around, I think that looks good. Let's get started with the painting. 50. Copenhagen Bridge Painting: Okay, for the start of the scene, we're going to want to put in a lot of background colors. So just a lot of the light that we see and probably the first one I'll start with is this building, cause I want it to look, a lot of this sort of milky white color. And some of these umbrellas as well, I can get them in at the same time. I always try to see how can I paint everything in basically in one go. These buildings here, I don't really do much to it. Maybe I'll put in a bit of white or some kind of grayish mixture down the sides of it, like there, okay? Little bit there down the sides. But apart from that, apart from that, we should be alright. The right hand side, I'm going to leave that white. We'll pick up a bit got a bit of Indian yellow, which I'm going to chuck onto this. Oh, not this one. I've just I forgotten this one here, but it doesn't matter. We've got a bit of yellow on there, but I kind of averted that This one here. So a bit of that yellow. Okay, that goes downwards a bit past these bits of fencing. And let's have a look. Alright. So the top of this top of all these buildings, a bit of burnt sienna. So let's go ahead and do that. Burnt sienna, keeping it pretty light, as well. This one here also has some burnt sienna. But on top here, this one's kind of like a darker color, so I'm just going to drop some of that in. It will blend, do its thing. I'm not fuss at all, okay? Now, following this building down, I do notice there's like a car here. We can get this all in afterwards, anyhow, but I'm just going to imply something back there. There's a figure, a person here. I'm going to just put in a bit of color for that person, maybe some blue or something for this other one here so that there's some softer colors running through, okay? The rest of it, I'm just going to just drag some of this grayish value down the page. Even in here, it's kind of like a very gray value running through those rocks rocky sort of buildings, the bridge. And here also some gray, little bit of gray. And gray is just basically all your colors mixed together. So if you've got, you know, if you don't clean your palette much like me, it's quite easy to get this sort of stuff showing up. So just pick up a really light wash of it. About 10% five to 10% paint that I'm using throughout this entire scene. There's also a kind of orangy looking building here, which I really like. Let's pick up some vibrant sort of orange. Also got some this other stuff, two different types of oranges. I'm just sort of mixing them together to get a nice value here that I can use for this area. Cutting around those umbrellas again. And you're going to get some mixing. So don't worry too much. It's going to do its thing anyway. You can't really prevent that, especially when you're painting wet and to wet like I am. The top of the roof is kind of probably got more blue to it, a bit of bluish value. Bluish gray value like that, which is going to go quite well, actually, with the orange below, because this is a complimentary color to orange blue. So look at that. There we go. We've got a bit of that rooftop in. It's blending. It's doing its thing. And back to this color here, which is burnt sienna. And I'm going to go, again, just cut around the sort of roof areas, leave a bit of the the window the color of the window in as well. Okay? This is a really nice sort of warm browny sort of color. Okay. Fantastic. Let me bring some of this down further. And then some gray here. I don't want to leave, I just don't want to leave too much of the original white on the paper if I don't need to. All right. Like that. Now, further down the page, all I'm going to do is just pick up some leftover gray blue sort of value, maybe a bit of this darker blue and just drop that in here, okay? Even if it's a purplish sort of value, it doesn't matter. It just needs to be a bit darker down the base like this. Um Yep. We're not really trying to get in any darks, just yet. This is just a back in color. Okay, we'll actually have to do this again. We go over the top of it afterwards. Great. So looking at the top of the scene now, we've got all this obviously got a lot of this light in the sky. We need to just add in some blue. I'm going to pick up some cerulean blue, and I'm mixing it with a touch of ultramarine blue here to create a kind of nice cerulean blue, but just with a little bit of darker value up there as well. For the sky. Okay, that's great. I did paint these ones first. I think I'll go through and just go over the top here first so that it's more likely to be dry. Adding the ultramarine blue in here so that it becomes darker and the light is going to stand out more. So just cutting around these buildings, as you can see, take care not to go into them. It's kind of the only time where you have to be a bit more careful with your brush strokes. Okay. Well, there's a bit of sizing here that's, uh it's dodgy. You can see the paint is not adhering to the paper. You sometimes get that with some papers, but let's not worry. Let's just carry on. Hopefully I can paint over that anyhow with a bit of work. Okay, let's cut around this one. These sort of buildings here in the background, that lamp there here. Okay, great. Let's keep going to the left. Do I have enough paint? Yes. Yeah, let's cut around this building. Yeah. This one here. Okay. Fantastic. So we have the sky washing. We've got the everything else, all the basic colors. And it's about all we need to do at this stage. I'm going to let this dry off and come back for the second wash. 51. Copenhagen Bridge Finishing: Okay, so that first wash has now dried off, and the next thing I want to do is really just put in all the dark values, okay? And I've got a large round brush here, and I'm going to be picking up some different colors. I reckon some ultramarine blue. Let's mix this up. We want to make a nice kind of nice shadow color. And when all these colors have dried up, it can be difficult to actually get the get it to reactivate again. I'm having some troubles at the moment. Okay? I'm mixing ultramarine blue and a bit of raw umber or burnt umber together, and this will make a nice, sort of juicy gray looking color. Of course, I've got this other stuff as well, which is just pains gray, a mixture of a few other primaries as well. So I like to sometimes have a few different types of grays to work with. You know, here, I can have a cooler gray to the right, okay? A little bit of a cooler gray, and then maybe on this end here, I've got more of a warmer gray, and in the middle, there's like a middle, mid sort of gray. So just mix that together. Warm gray. Neutral gray, and then a cooler sort of gray here. It doesn't matter, I'll mop up some of this other paint as well to the right, put in some more of that blue. Okay. So let's go ahead and give this a go. I reckon I'm going to start with this sort of cooler value here. Let's paint that in, okay? I'm not using much paint. It's really about I don't know, about 20% paint. The rest of it is just water. And because it's such a dark color, there's not really much as you can see, there's not really much that I need to add in there in terms of darkness. Okay? It's already dark enough. I need to get in there. And you've got these figures here as well. I just cut around some of these figures. I've almost forgotten about them. They're cutting around there. There you know, you can see, just also follow this kind of shadow pattern too. Yeah so that it looks like you've got this light hidden part of the part of the structures as well. Woops. Let's have a look bit coming out there in this building here. Okay? The trick to these shadows is to just paint them all in one go. All right. It's a rooftop, bits and pieces here. Yep. Yep. As you move into the background, you can also darken off lighten off some parts. I've gone into that figure. Look, doesn't matter. We can bring them out again with a bit of work afterwards. I just wanted to make sure these two sort of show through a bit like that. Okay? Just cut cut across again with this gate like that. I'm going to forget about that car in the background. It's going to just ruin this if I go into it too much. Okay. There trying to darken down some of the areas a bit more near the bottom, the back section. You know, this is more of this area the Okay, let's go on go to work on this, I'm gonna work on this area a bit as well. So what I think I'll do, actually, is just quickly do this bit while we're here. They're a bit more blue for this bit more blue. Simplify that down. I don't need that to run down just a little bit. There let's take a look at this house. There's a bit of maybe darkness there. There's, you know, a bit of the detail there. You know, you can actually just start putting in a bit of these, you know, windows and stuff already. You know, depending on how much effort you want to actually put in to imply these things, yeah, I really simplify these down like this so that, you know, not spending all day painting them, Okay. Like that, uh, this could also do with some darker value here. This part of the rooftop, it's not like actually that light. It's a bit darker like this. There there's also a bit of that same value here, that sort of brownish value. Where I can, I just get things to mix together where I can because it simplifies the whole process down. You know, I I can paint it all in at the same time, see these little sort of sections as well, I can do the exact same thing and just paint them all in, get them to blend in places here and there. Of course, there's a figure here, so I don't want to go too far over him. Okay. Is difficulty in painting with some of this paper, which is like a cold press paper, is that it dries a lot lighter. Okay, here, there's this sort of shadow on that building. Maybe I can put in a bit here just to imply that there this part of the chimney, maybe something here, you know, the same shadow sort of effect. There's a bit of shadow here as well. Lo kind of cast onto the left side of this building, so I'm going to put that in like that. So I need just a little bit there, you know, these little bits here. I can just go on and add them in these little shades and there's a door or something here to the left. Running down the page here. A becomes pretty dark under the umbrellas. What else do we have? I'm trying to join this up. This shadow here, just join this shadow up to the stuff on the right hand side, as well, so it kind of mixes together, as you can see. Okay. Great. And yeah, this bit underneath here is going to be a bit tricky. Let's just drop in some of this darker value again. I'm mixing up a lot of dark colors here. Okay, I need to get this one in right. Sort of area that comes like this here. And then you've got that shadow shape here that just runs through like this. Okay. Really dark values in this section here. Knowing how this usually works out, I might have to even go over this again one more time. But this should be okay. I do want more blue in there. It's just looking a bit too stark, bit boring. There we go. Let's bring this down. Now we've got this second part here, it runs like that. And same sort of deal, you know, be light going across the bridge. On the other side, we have got, again, darkness here, little lip underneath the light that connects onto that part of the shadow. Behind it, we've got a bit of darkness there on the wall, then it just becomes dark underneath like that. Okay. And from here on, it's smooth sailing, if you ask me. Once you've gotten that part out the way, it's a tricky sort of part. Mixing up a bit of purple in here as well. I just getting a real dark value running through this whole section underneath here, just cutting around the light. There's actually a boat here. I didn't realize that. There is a boat here. I don't know if I want to get that in. We can maybe just imply it like that. I'll leave that out and maybe turn it in, try to turn it into a boat afterwards. Yeah, I put a sail or something in a mast up there. It just shows you don't have to, you know, you don't have to draw everything in straightaway. Okay. So really, as you can see here, just a quick wash. It's nothing too complicated whatsoever. But while the paint is wet, this is a great time to just make sure you get the darkest parts in and make sure that they appear dark on I don't know why, but on hot press paper like this, it's just a pain at times to get in, uh Yeah, get in the right values, especially darker values. They don't stick as well for some reason. That's just gonna quickly go across and try to get in these gate areas, these bits of fencing that you know, you've got to over redo some parts like this. Uh Good. But I don't want to overdo it as well. It's tricky. It's tricky. I think that should be okay. I don't I could keep going, but underneath this little pillar, you can see there's, like, some reflections, some darker sort of reflections of that one. So I've just mirrored that. And also underneath this boat, you can see there's also some darker sort of reflections running through there underneath this air of the water. There's more darkness. So, you know, water isn't just one color. There's various values in there, and you have to make sure you imply some of those values. Otherwise, it's going to look flat and boring once you're done. So you know, you've got different as you can see, different values running through there, kind of just connects up with everything else. On the right, more gray. I'm just losing out some of this color. It's tricky to get this all in. Yeah, I can probably bring out some of the details of this later on, this part of the this part of the support beam here. But yeah, this should be okay for the time being. Do we have anything else to put in here? We do. We've got more darks there as well. But I will also just start putting in a few, you know, I was around this area, starting to put in some details. So a bit of a bit of blue, you can see in some of these windows, I'll just drop in a touch here and then go over them again. All right. Pick up a smaller round brush detailing windows. Yeah, it depends how detailed you want to go in with these windows as well. I'm just simplifying them down quite a bit. Okay, around these, there's gonna be some little frames like that. So these ones look a bit more complicated than the ones to the right because I've added in some blue to indicate the sky, I guess, reflection of the sky. Yep, here. And then underneath, I will blend that in to the shadows, these shadows here. Yep. Yep. The Good. Some more cutting around. And, you know, here again, I'm just leaving out some detail for imagination, I guess. Just a bit of imaginary stuff. It could be figures. It could be anything around there, really. But, um, yep, there we go. These sort of areas here and now. So these brushstrokes in like that. You know, what I'm doing is just trying to pick out some tiny little details that, you know, like the steps here. There's tiny little bits and pieces. You notice on this as well, there's these patterns of the blocks here as well. So I can kind of imply that like that. Okay. A couple of people here. Let's get them in with a bit of darker paint. Oh, it's too much paint. It's way too much paint. Trying to lift this off, but it's almost just pure paint. I've added in, unfortunately. Doesn't matter. Maybe a couple of people. This person could be sitting here, maybe, Yep. If I can try and move some of this paint over to this side 'cause there's too much. Some more darkness behind here. These kind of just areas where people are eating and doing things. Again. Yeah, I've gotten rid of some of that stuff back there as well because I just didn't think it looked good. So Yep. I've still got this boat here that I've kind of implied, so I get the bottom in of it. We'll see what we can do, maybe put a sail or something going upwards, but that's just a bit of color here to apply the reflection, maybe some other ones like that as well. More of the little windows here on that part of the building, here, maybe here, you know, this part there, perhaps. What else do we have? Yeah, more of these windows here on the building to the left. They need to be consistent with the other darker windows on the other side of the scene. So yeah, this is, again, more of that the shadow work and stuff on top. This top section of the building is also darker here, so I'm going to just darken this down. Okay. Put a bit of shadow, maybe to the lefthand side of it like that. Um, this top part, I'm gonna try to create a bit of shadow or something there, bit of contrast. The roof should be a little darker as well. Let me just try to get on. I don't need that lift off. It could be a cloud or something. Can I just lift off more that you've just got to work with things sometimes in watercolors and fix mask little mistakes and things here and there. It actually looks better now that we've lifted off some of that paint kind of looks like a, um, yeah, more varied sky. I'm even just using that to kind of blend off this area whether the sizing of the paper was a bit dodgy there, so all kind of worked out. So sometimes that little mistake little mistakes can actually be a blessing in disguise, like this. Okay, let's not overdo it. There's too much going on already. Okay. So, um, what else do we want to do in here? I think we will put in some a little bit of red for the faces of the figures. Maybe here a bit of color there. It's meant to be a figure there. Here, there's a few more there in the background, but I want to put them in add the mean in a moment. I put that blue up there in the windows as well, a little bit of blue in this in these two lamps. Uh yeah, it's really just, I mean, at this point, detailing. I've noticed these buildings here in the darkness. They should have some indications of some windows as well, so I'm going to just draw them in, paint them in, like that. Um yep, let's just keep them simple. And the small little windows and stuff off in the distance. Okay. A little detail for the figures like some shadow like running to the left of their bodies. This There's be another person here, actually, behind. Just looking through. Did red with that face, another face of a person there, just sort of standing standing around. Um, I don't know, but one here. Another one here, maybe. Kate, good drop in a bit of hair or make a hat or something like that. Um, darkness for parts of the body as well, maybe. It's just kind of difficult to imply detail at times. But we need to kind of make some of this a bit more detailed. Um, this whole area just really darkening up yet again. There's some details here for the lamppost. Like that underneath. So yeah, just simplifying this down and I'll bring this stem of it further down into the into the scene like there as well. Same thing goes with this one off in the distance like that. Okay. Just wanted to make this a bit darker so that it comes forward more. Okay. Do I have anything else? Looking around to see if there's anything else I need to put in. You know, I think a bit of green here would be nice to just emphasize, like, a tree, you know, here, some sort of tree shape, like to balance out there everything here on the right. Got to be careful with this too much. M. Yep. Could be a tree or something. Yeah. And the post the mast of this one, this boat ship coming up, so I'm gonna just draw one going all the way up like this. Shoight as well just make it almost go out of the scene. Um, yeah, might as well just make it go out of the entire scene in general, like that. Um, yep, some of the rigging still coming down perhaps through here. Uh, m And now some little finishing touches. So I've got some white titanium white, and I'm going to just wet the brush down, pick up this titanium white, and I can use this to put in some really basic highlights. It's not 100% white, actually. It's mixed in with some other paints, but it might help still. So, you know, for example, here, I might get in a bit of, like, some highlight there here on the figure But kind of just to imply a bit of the light peeking through. What else do I want to do like here, as well? Some of that light that I'd lost out. You know, all this bridge stuff as well, you can see there's a ton of, you know, darkness in there, so a little bit of that is gonna help. Yep, just mess that up a little bit like that. Oh, kind of tiny little bits of white or a lighter color in some of these areas. I definitely does help. Um, yeah. Really mask. A bit of a bit more on the mast, like on the on the right hand side here could have some, you know, light hitting it. And in the boat itself, there's, like, maybe some details in there, you know, just to imply more of like a boat there, you know, reflections like that. What else here? Bit on the lamppost. Again, this is just a technique to bring it out of the darkness, make it look like it's actually there. Here as well, like that. Let's look, what else do we have in here? Um Yeah, quite happy with how this looks so far. Last thing I want to do is maybe make some quick little reflections of the buildings down below. And this is to make this scene look more kind of blended together because the water just looks like a large mass at the moment. So if I pick up a bit of this white, and there's some other values mixed in there, which is good because I don't want it to be complete white. Dry off the brush, and let's just try something here. So I'm going to just put the brush here and then just do this, okay? There we go. We can get some downward sort of motion to create a bit of an effect. I might use just a larger brush for this. I picked up a larger one. Uh, Yep, there we go. Uh, something like that. A boat that. Um, it's a bit much just dab on the paper. I felt that I've gone a bit too far in some parts, but, um, still, it looks okay. It looks alright. Um, at least it kind of blends with the water a little bit. Okay. Make it probably look more um, more blended. I can pick up this brush and just kind of dry brush some darker value across this in areas. Okay. Maybe down at the base as well, darken a bit more in some areas. There we go. So it's kind of mixed a bit. Fantastic, and we are finished. 52. Helsinki Waterfront Drawing: Okay, let's go ahead and get started with this drawing. I'm going to put in the water line at the base of the scene. Drawing a line across not too much, just enough to indicate some water down below. I really don't want that to be a huge part of this scene. And let's go ahead and firstly start on some of these bottom buildings. Now, the trap here is to really get too obsessed with everything in here and really detail and stress yourself out. I'm starting right in the center, and you can see this sort of long kind of building that's kind of maybe, like, a light brown color. I can't tell exactly what it is. But it comes down like this. You also got another building here to the right. It's actually a little bit shorter. Maybe just make this building a bit taller. It's got a bit of a sideward part here. Then you've got another building here kind of exits out the scene. Okay? Let's get some of the rooftop areas in like that as well. This one here, that's something. We've got some windows. Let's just drop in a few little windows. You know, a lot of this stuff, just kind of implying, I don't want to spend too much time detailing in here. Some bits and pieces here in the back. There's even, like, a tree or something there. The rest of this is just kind of boxy looking shapes with rooftops there. You know, they're just houses, basically, and buildings in the background. And that's another one kind of coming up like that. You know, we're just kind of doing this as quick as possible, really, so that I'm not overly focused on all the details. Now, these windows here, yes, they are a little you know, there's a bit more detail in there, but I'm going to simplify them down. There's an entrance or whatever here, okay? And this is kind of like the the walkway, I guess, in front. And there's all these boats and bits and pieces there, which we'll draw in in just a moment. But let's get in this top of this interesting building here to the left. It sort of comes out like that. Square and then you've got this triangular bit here. And then on the back, you've got the rooftop. Interesting sort of rooftop sort of just goes over to the right like that. And now I know I need to extend this up a bit further like this building. There are these sort of squarish windows right on top here, not a huge deal. Let's just put them in. More details up there. Okay? Great. And some more of these other buildings. You've got this one here comes in, and then the side of it, rooftop like this, another kind of rooftop. This whole area here is going to be in the darkness. There's another building here, again, and it's just got this interesting sort of rooftop like that. Let's just simplify that down a bit. Again, some little chimneys and there's some plants in the back there, also some rooftops of houses, that kind of thing. Okay. Let's have a look at this building here in the background. Okay, so this is the actual cathedral, the church. And I'm going to just start by putting in this sort of section like this. There's this triangular bit just running like that. And then you've got these pillars that just run down. This one, two, three, four, five, six of them there, and the back of it kind of extends to here, the side of it, I mean, there's some more sort of smaller pillars there. Okay? But that joins up there. And then it's kind of like a hard to tell, but it's almost like part of the side of it there. Okay, let's extend this out further. You know, here on the right hand side, we've got another kind of bit that goes up, triangular sort of bit and the side of it there, running like that. Look, we can spend all day kind of in the details, but I just want to simplify this down. Right? On the right hand side, is quite interesting. You've got a lot of light running across these pillars. And in the background, you can see some of this tree shape, I guess, back there. And there's this rooftop that kind of coincides with this kind of tower here, or part of the top part, the church, again, you just simplifying these shapes down like that. Let's have a look. It's kind of boxy, three dimensional as well. And then you've got this kind of round dish dome here on top, like that. Oops. Maybe like a crucifix there. Okay. This is just going to be kind of in the darkness, some of these parts. And let's over look. What do we have behind here? It's kind of like another bit another triangular part. Then, then I'm just gonna put in this other tower here this same sort of structure for the base. That there. The other one kind of comes out roughly Okay, let's put in this secondary tower roughly here. And the top part there and the dome on top, like that. There's also one here on the right, ran about here maybe like that. Also, kind of catching a touch of light. On the top, doing these upper touch there. And of course, right on top, we've got that large kind of dome all the way up here. Okay. Like that. Some sort of these little parts in the center. Of course, you've got bits of architectural detail. There was actually another dome around the back that I didn't see there. It's all the way back, but it doesn't matter. Okay. This is looking pretty decent, so far. I'm just going to see if I can put in some more little bits and pieces here in the back. I've noticed there is some kind of additional details like houses, rooftops that we can imply, like that. Here. Here. Maybe a bit more here on the buildings. So more little details of the windows, more just a quick indication of what's going on in there. Yeah, this bit isn't so accurate, but it doesn't matter. When we go in with the watercolors, we can always increase the level of detail, add and subtract things as well. Here, let's put in this boat. Looks like a pretty big boat sitting on the water like this. And you've got kind of like this white bit down the back there and a top area here like that. You know, it doesn't really matter exactly what's in it. I'm just trying to simplify this down, make it as easy to draw as possible, what you can see some windows there. So it's really some kind of carrier boat, like a small carrier boat. Tours or something like that. But in the background, you know, this is actually a road behind. So there's actually cars. If you look very closely, just sort of parked on the road, maybe cars that are also facing. You can see there's, like, a little van or something just facing and going forwards there. Okay. I can't really see many people, which is fine. Means I just don't have to sort of draw them in. But, you know, you've got another boat or something here as well, another ship and, you know, some little windows up the top, as well. Like that. What else do we have? There's a tiny little architectural details like this little I don't know what that is. It could be cellars stand or something, some umbrellas there. Another, like, vehicle like just parked here, for example, on the side of the road. You know, this could be a parking bay or something like that there. Okay. I don't want to overdo it. There's these little pools also near where the water starts, so this will be good to pop in there. Okay. Great. I'm just having a look to see if there's anything else I might want to add in. I mean, for the time being, it's looking decent. 53. Helsinki Waterfront Painting: Okay, so let's go ahead and get started with the first wash. And what I'll do first. Okay, let's go ahead and get started with the first wash. I want to keep everything really sort of light. Here I notice there's a bit of this, like, cooler color. To me, it's just a kind of, like, lilac color that I'm going to drop in to this building like that. Okay? Even the roof is that sort of color, but just a bit darker. So let's do this all at the same time, okay? So to me, it looks like a lilac color. Which I don't mind. Then on the right, we've got a yellowish sort of building. I'm going to mix up a bit of Indian yellow with a touch of white. Let's drop that in there for that building. And it's ro going to blend and do its thing, doesn't matter. Let's have a look. What else do we have this building on the right? It's like a brownie color, like a like a burnt sienna. So let's cut around that and the boat as well. And actually sort of goes all the way up to here, there, back to kind of a yellowish value, which I'm just picking up just a yellow ochre. I might actually put a bit of yellow ochre in that one as well to dull down that color. It just looks a bit too much at the moment. Okay, I'm keeping this really light. This is all about 10% five to 10% paint. The rest of it is just water, okay? There we go. We've got in most of those buildings, and, you know, one thing we probably should do, as well is look at the the rooftops. So I'm going to pick up a bit of this darker sort of purplish paint that I have. I'm just going to drop some of that through here, for example, for that rooftop. And I'll probably have to go through, do it again anyway afterwards. But this is a good little way to imply a touch of darkness in areas. This little building here to the left could do with a bit of warmth, drop in a little warm color through there. I don't want that to be too pronounced and uh I have much in there, to be honest because it's, it is something that's more in the background, bit more of that grayish color here in the back in the rooftop there, on the left hand side of that. You know, there are trees and things back here as well. You can see sort of just these, you know, bits like this. What else do we have? I'm picking up a little bit of this grayish color, and I'm adding some blue to it, some ultramarine blue to create a bit more cool color. This way, yeah, it's just going to look nicer when contrasted with all the warmth in this scene. And even back there, it's really hard to make out exactly what's going on, but there is some warmer values down below, and then you've got bit bit of cooler color running through the top like this. So it's kind of like just go from cool to warm to cool to warm. In the base here as well, I'm just going to pick up some not ultramin blue, but some cerulean blue to drop into the base, perhaps a bit of purple mixed in with that cerulean blue, as well. Yeah, but I just want to dull it down and also create a bit of purple in there, purplish value. There. Okay. The sky, I'm going to create I'm going to sort of paint in sort of a purplish, grayish, purplish, sort of, value. So let's go ahead and do this. And we've only got really one chance to do this, sort of cut around this dome and the rest of the building. I'm going to leave most of the building just white. Okay. Let's mix some of this stuff up. I've got some Ains gray here on the side. I've got some blue a little bit of blue there. Together, it kind of makes almost a slightly purplish value, but I do also have some other purplish colors here on the side, so I'm just going to mix some of those up. Already. Let's have a look at the sky here. So yeah, it's not that dark. It's kind of like this. Let's go all the way through. The mop brush is so important for this type of work because it just allows you to cut around everything easily. You know, I just cutting around this. You see, even on the rooftop here, there's actually a touch of darkness here and here. And here, I'm just going to try to imply some of this running through the building. It's almost the same value as the sky, but just a little lighter, perhaps, like that. And we can just put in these slightly darker sections at the same time. Right? And that way, that way, it's going to actually look a lot more natural, if you ask me. It was the same mop brush. I'm not doing anything. I'm not using any other brushes for this. Really paying attention to the light pattern as well. So we're leaving out some of that light. Now, here's a bit of darkness in there, more water. Yeah, again, this stuff on the actual the actual buildings is lighter. These shadows on the buildings. Coming all the way here. It's going over the top of some of these as well there. What else do we have in here? That's got some darkness, and this is also casting a bit of shadow maybe in there. A bit of darkness here on the side of that tower. That one there on the side as well. This side of that part also has a touch of shadow in there. Just doll that one off a bit. Underneath, you've got some kind of darker bits for the pillars. I mean, apart from that, apart from that, there's not all too much. I think here I can probably just yeah, hold the bit in more underneath there and here as well because there is a bit of a shadow running across this area just due to the tower. Alright. Great. Let's continue on downwards, and I'll cut around some of this stuff as well. Here in the background, the same kind of purplish value. Yeah, let's just cut around and leave a bit of white if you want, as well, if you're worried about it sort of spreading too much below. I'm going to shift this paint to the left a touch. It's kind of tricky because some of this is already kind of dried, but I'm using hot press paper, so it's easier to kind of lift and shift it around, but also difficult to get in a nice flat wash. But hopefully, it's going to end up looking quite nice and vibrant once everything is through. So yeah, the background, I'm just trying to make a little bit a touch darker than the actual shadows on the buildings. Oops. I've gone over that figure. It doesn't matter. No figure, but it's a statue. Here got to be real careful cutting around that dome there. Alright. Let's bring this down. Here we go. Um, great. Just quickly redo this part. Okay, I can probably add in some darker clouds. I've got some purple, extra purple. I can just sort of feather in areas to create some extra darks darker parts. You can strategically kind of place it next to the domes, as well so that it makes the light pop out better. This create this downward kind of pattern of light and darkness there, this darker looking cloud. It was, I think that's good. I might actually put in a little bit of cerulean up here. I'm just thinking, why not get a bit of a bit of blue coming through up the top? Um, Fantastic. I'll leave this sharper edge there, and this can dry do its thing. Okay? Just having having a little look over the whole thing and checking if it makes sense or not. Soften off that bit edges. Okay. I reckon I might need to darken the water a little bit to match the sky. This maybe. Let's see how that looks a bit. Alright, fantastic. Let's give this a little dry. 54. Helsinki Waterfront Finishing: Okay. Okay, this is all dried now, and the final sort of finishing touches are going to be really important to put in some darker shadows. And I'm going to just be using some pains gray, mixed with some purple. Bit of blue. Well this Pains gray, purple, blue. There we go. That's a great sort of shadow color. Okay. And might need different concentrations of it, as well. There's just a few darker spots that Anna has actually light is this shadow. So let's go ahead and get in this part of the shadow. Now, I know this building here has got a shadow behind, runs behind like that, hits this sort of lighter building. And the rooftop also is this also similar kind of lighter value, lighter shadow value. And then you've got also this shadow that's coming over from the distance here on to the rooftop, you know, maybe some longer shadows running along the side of the building from another object out of view. Okay. Good. And what else do we have? You know, this rooftop here does need to be dark and more, a bit more dark. So just go in. Let's do this all in one, sort of go like that. There. Fantastic. I might draw a little quick like a broken line like that running down to signify this just a break between those buildings, bit of darkness on top of this building here as well. Plus, of course, some shadow on the right hand side here. Okay. This building, again, we connect up all these shapes so that it flows together. I think it looks much better this way. Even if you can get in part of this boat, the bottom of the boat, why not paint this all in in unison. And let's have a look. What else do we have? You know, behind here, there's some darker bits. Well this rooftop again kay. What else do we have? This rooftop here is a bit darker, too. We can get that in this kind of dome like structure there in the back, something there. That's supposed to be a tree. I'll get that in in a moment. Some more kind of darker shapes back here. The Okay. Some of the stuff you're just kind of making up, as well. Bit of this green now. Bit of this green. I'm gonna drop that in here. Okay. I might use this to cut around these two parts of the front buildings. Funny thing with hot press paper is that you see it dries in very strange sort of ways. It doesn't provide often a nice crisp shadow. You have blotchiness. But just got to put up with it. Don't get this on uh, copres paper or more textured paper. This whole area here is really dark and just filled with, like, who knows what there's trees. Um, I'm just going to paint this whole area in a little bit darker behind this building. This is all going to be little details we can't really see. And then we've got maybe some green because I'm going to pop in here for the edge of this building for the tree that we have kind of coming in there. Underneath, it's like a grayish value, so I don't need to do much here, bring that value across. Okay. Gonna just grab some more of this grayish color. Paine's gray, bit of blue mixed in there to just bring out some small details. So we know, for instance, that some of this stuff needs to be darker. So we've got this top of the Um, towel. This is tricky. It's too much paint on my brush. Hold the brush further down if you want to get more, more detail and control. Okay. What I'm doing, I'm just picking out some parts to detail, okay, add some more shadows, that kind of thing. It's more so on these domes that stick up. I just feel like they could do with some extra a tiny bit of extra work. Okay, a bit of extra contrast when you compare it to what else is going on in this scene. The rooftops as well, you notice there are some darker spots on the rooftops. So, I'm going to reapply painting here. Those spots Okay. It's kind of like mid values, popping in these mid values. Okay. That's part of the rooftop, as well. Kind of can go down and start doing these sort of parts, which again, just these verticals simplified from the reference, of course. Bit more blurry and indistinguishable on the right. Okay. Okay, I'm going to pick up some really dark paint now. This is just, you know, it can be neutral tint, can be Pains gray, which is really what I'm using here. Just a dark paint. And I'm going to go through and try to get in some of the real tiny details, I suppose, of these windows and maybe areas of the rooftops, darkness, stuff with this brush. Okay. Now, again, I'm just sort of doing this very, very lightly. There's not much detail in here at all. Okay? Just enough to imply some contrast, some windows, that kind of thing. You know, even this boat does need to be darkened underneath. This little area here kind of could do with some darkening, as well, underneath here. Oops, like that. Um, yep. I'm using this almost as a bit of a liner to get in small details that I might have missed out lost through the process of painting these larger kind of washers. We can go up here as well and play around with a bit of this stuff, some of the areas here, for instance, in here, here, it's a bit of a touch and go kind of thing to bring out some extra contrasts. What else do we have in here? There's maybe some bits and pieces. Yeah, this rooftop, I could just imply some darker parts inside here. It's really just like tiny bits of architectural detail that you might have missed out some smaller details. This final wash is going to help with that. You know, there's actually some windows and stuff here, so that's like a round sort of window. And then you've got, like, you know, another window, there, round window. So I'm just going to, I don't know, imply something like that there. Okay. Yeah, this kind of things like needs to be in there as well, this tiny bit of architectural detail, these triangular bits of the tower. Okay? As long as you leave some of that previous wash in, it's gonna look fine, okay? Where else do we want to kind of imply more detail? Maybe here. You know, over here as well. This is a building, but I can't see much going on in here, that's just going to make it seem more realistic. Yeah, you know, some darker bits in here, maybe back there. And, of course, these buildings here at the front, let's go ahead and drop in some color like this. And I think what I might try to do as well is get in a bit of this road or the darkness or surrounding the road, maybe to bring out some details of the, you know, another thing you can do is kind of just try to imply maybe some shadow or something in areas. This could be a shadow from this building, can do the same there as well to simplify this down a touch. And make the light look a bit more fluid moving around a bit. There we are. I think that looks a bit better. That light pattern just makes the buildings look more interesting this way. What we got down here, just more of these windows. Let's just paint in some more of these. Here, I'm going to cut around some of these shapes, the cars and things maybe parked around here. Building, again, doll that down a bit. Some small details running below. These are just some vertical lines, not much happening other than that. And I think what we want to do as all is in the water, maybe get through a few darker sort of brush strokes here and there. The flat brush can be really great for this type of stuff you can do it quick. Okay? That um I want to get in maybe some reflections of the boat as well, but I'll give that just a moment while I just work on the bottom of the boat like this. Yeah, we can get in the reflections of the kind of white on the boat. I like to use a flat brush for this, and I'll pick up some white paint. I've got a little bit here on the palette. It's not going to be completely white. It's going to probably have some grayish value in it. Doesn't matter. All I want is just a slightly lighter value. To go through and do this. Okay. And we can just sort of grab do this and just bring that kind of down like that. There we go. So it looks a little bit like a reflection here as well, something like that. This house, something here, you know, it just helps to break up this, yeah, all this color. Maybe I can do the same thing, put a bit of yellow into this white and do the same for some of these buildings here, just like a milky yellowish sort of value running through, you know, around the back error as well, even here, you know, something like that, going through the water and means I might have to do it for this one as well here, this building bit of something good. Not the last minute sort of thing, but it works and fill bit brush I'm going to use to just soften down this so don't have to It's basically just a scrubbing brush. You don't have to have one of these things, but it's a brush with all these blunt edges on it. You can also just use a normal round brush. This just makes it easier to blend. So yeah, there we go. Now we're getting some blending. I do, 'cause I want the sharp areas of the dome where there's kind of just stark white and then paint to just slowly fade between each part. You know, anywhere where you think there's just a bit of harshness, you know, you think, that's too much. Just touch on, lift off the paint. You know, you can do things like this quite easily at the end of a scene. Um, let's have a look. What's this part here? Um Yeah, there should actually maybe be some smaller detail part in there. Okay. More little bits of touch up work. Oh, yeah. I want to bring some of this statue back, if possible. I mean, you can't exactly bring it back, but it's close. That's we can do anyway. More kind of lifting off. Look, remember that some sharpness is also crucial. So yeah, make sure you kind of not overdoing it. Okay. Maybe some little finishing touches. I do think maybe some green in the background for the these trees like some darker green is going to help bring out more contrast. That not overdoing it. Tree there. These ones kind of coming up already. I don't need to really do too much with that. That's fine. More windows here on that house. You just tend to notice little parts you might have missed out. So just, you know, go ahead and work on bits and pieces that you need to. Um, yeah. It's amazing how little you need to really put in to make things actually look like a building or a boat. Okay. Yeah, I'm just going to just do this one a bit more. There we go, just to make it this boat really sort of stand out. Base of this one's tricky. Looks a bit too much. Okay. Some of these ports on the boat. The ship there. Some of this reflection has just disappeared. Picking up a little bit of white guash to re emphasize some shadows, not shadows, like reflections, white looking reflections. And we are finished. 55. Iceland Scene Drawing: Okay, let's get started with the drawings. So I'm going to start putting in a little line here where the mountain finishes off in the end. It's a little bit more than a little bit more than a third up from the bottom of the page. And just bring that across. It's not completely straight. It doesn't matter, something like this. Alright. And next I will put in a little indication of the mountain, how high is it's roughly maybe about here, isn't it? There's still enough you know, there's still gonna be enough details, not details, but space up the top of the scene to get in, you know, enough of the sky kind of thing. But something like this, Okay, that mountain. Let's do a little bit of shading. So there's these darker sections there, a bit here that kind of goes up and then across like this, what else do we have? We've got, like, sort of little darker details in here, in here, like that. Here. In here, this sort of bit comes down like this, down the side. It's really like this ridge coming down the center of the mountain, and it's and you're forming, like, a bit of shadow on the right hand side. So this is going to be interesting. Just going to simplify that down. Don't want that to be too difficult. And here in the background, you know, we've got some mountains here, some distant sort of mountains running in the back and then you've got this sort of white snow covered mountains here. I don't need to put in too much detail, but just something like this. And there's some little details in there as well that I can just kind of indicate. Again, you know, you've got these little ridges and bits and pieces. Here, a lot of this, I'm going to get in afterwards with yeah, with, um, some darker brush strokes. Well, there's actually a second ridge kind of here, a bit darker. Those are those Those are the mountains, basically. You don't need to put in too much there. Alright, so here in the foreground or midground, I suppose, there's, like, a kind of lake here. I don't know if it's a lake, but it's like area where there's water, maybe some melt water, and you've got grass or sort of growing around here that blends really nicely into the into this water. There's a sort of smaller lake here behind, which I'll indicate as well, yeah, it just sort of goes out of the scene to the right. Sometimes you want, you know, you'd be tempted to just extend things out a bit further if it makes sense. If it looks good. I've actually just brought it a little bit further down the page. The rest of it, I can get in with the paints. Now, let's have a look at the details here. So small details is like a little house here. Let's just put in that detail house. This is pretty much the largest sort of house there, I guess, in the scene. So simplify that down. There's going to be light on the left hand side. On the right hand side, you've got bits and pieces, that should kind of be in slight darkness around as well. You've got some of this I don't know what it is, like, the surrounding the gate or whatever surrounding the property. There's all little bits and pieces of detail here, this kind of bit here. Another building, another building here perhaps behind, another one there behind. Another sort of building there, well behind. What else do we have? There's more more smaller little buildings that we can just indicate in like that. And this It's just looking at the general shapes, just, you know, rectangular sort of shape there, and then coming down like that. A lot of this stuff, I don't really mind exactly how it reads as long as you've got, you know, indication of this sort of house like shape. Okay. You know, they kind of overlap with each other, some of these. Okay? So there. Don't spend too much time drawing these because once we actually get into the painting, there's not going to be a whole lot of detail. It's just leaving out some bits and pieces here and there. And these houses are very simple. They kind of just got basic sort of rooftops here like these two here. This ho on the right. It's kind of nice completely white sort of house. Oops, something like that. Oh, I forgot to get in this other one next to it. I can just put it in anyway, next door here, this sort of longer style house with this rooftop there, and m's got, like, a side part there, something like that. Okay, what else do we have in here? Not really that much. There are some kind of these poles or whatever that are sticking up. Other than that, there's not a whole lot else that we want to put in here. I'm quite happy with how it looks for a sketch. So let's go ahead and get started with the painting. 56. Iceland Scene Painting: Alright, so starting off with the mountain first, I want to just get in a bit of cooler color for some of it. So like, maybe here. I'm going to leave a lot of it white, actually. The left hand side of it, I want to leave white, but you can see there are parts which are just, you can see kind of bits of blue, bluish sort of value, you know, the darker kind of bits there, you know, maybe some little striations running across up here, in there, up into the top of the mountain coming down. Trying to simplify this down as much as I can. And a lot of this is just about 10% five to 10% paint, probably less than even 5%, just a really light wash of paint, and, you know, just trying to get in this general sort of shape. There's also some green here down the bay. So I'm going to get in a little bit of green there at the bottom of the mountain. More of the ultramarine blue here. Okay, let's bring that across. There you have it. So we've got that kind of bluish value on the mountains now. Let's do a little bit back here. This tiny little bit of blue back there, and even back here, there's a little bit of something there, something here as well. Uh, there we go. Just bring little bits of, like, I guess, you know, ridges that you can see on the mountains. You can put those in nicely. What else do we have? There are a few other bits and pieces here. On the right hand side, these nice little ridges, again, up the top. And, uh, actually some softer sort of shadows here. I'm just trying to follow some of these like striations running through, okay? No overthinking it as well. I get it in just in one quick sweep like that. I think that's the best way to do it so that you're not overthinking everything. Down the base, I'm just going to a little wash of that Color, GootRo, so we've got those mountains in pretty quickly. Another thing you can do is, you know, because things are dry pretty quickly, you can actually just go back in with this flat brush, and I've picked up a bit of pains gray. Any type of gray or darker value will work fine. And the point here is just getting in some of these sharper kind of contrasts. You can see even here, that could do with a bit of extra sharpness. You know, I might just dry off the brush a little bit to see if I can get some. Like, yeah, there we go. So funny little marks that just skip across the paper in areas like that. So, yep, good. A little bit here on top, as well. That right hand side. You know, you get some of those bits of mountains and things that stick out over the top right hand side. Like that. This actually blends nicely with the green side put in a bit of something here. Okay, good. And do you think I need to darken down the right hand side of this mountain a little bit, as well. Just add in some more blue here. There we go. Fantastic. Um, yeah, some darker bits of detail here and along the edges of the mountain in parts as well, you're gonna get some of this stuff coming through. Okay. Mm hm. Okay, bit here, maybe some small bits and pieces that we can indicate. Okay. That running down the sides. Good. Alright, so let's start shifting some of this paint downwards. I've got some Indian yellow, mixing mixing in some green as well to make a kind of light green sort of color. And I'll probably use a mop brush for this little mop brush. So that they can pick up more paint. So yeah, cut around the houses, go all the way into the base of the mountain. You want to keep this washer very light, very, very light, cut around the houses, leave some white on the left side of them. This is tricky to do. This is definitely really tricky to do because there's a temptation just to paint the whole thing in, and you got to do it quickly as well to make sure that it's, yeah, so that the paint just doesn't dry too quickly. So going around, let's just do all this stuff. I've already gone over that house a dentally. Let's just keep going. Anyway. More of this work, moving to the right. It's actually maybe a little bit darker. Yeah, that's better. Just a little bit darker in some parts here. We can just add in a bit of a little bit of darker blue out in the back in some parts just indicating some sort of darker spots. Okay, cut around this house here. Fantastic. Let's have a look. How has everything turned out so far? Not bad. Not bad. You know, more of that paint, more of that green, you know, if it mixes in, let it do its thing. Now, here as we move further down, we're going to get into, like, a bit of bluish sort of this area here for the water here as well. So I'm just picking up some cerulean blue, dropping that straight in like this. Okay? This will kind of go across. This will be sort of some bluish value there as well on the right hand side, Cerulan blue. Going quite dark with that as almost as dark as I can. Then I'm going to go back to that green. Let's pick up that green and move further down again. Let's continue down. Okay? Join this up nicely like that. Alright. And let's just continue down the page. Okay? Notice how I'm just blending that green. Not bothering, really, with trying to leave too much of a sharp edge or anything like that near the water. At the moment, I'm happy to just get it to blend nicely like this. Okay, fantastic. And it's also a good time to start feathering in some small details and got myself a little fan brush. And also a little pocket knife, which I can use to scratch out some highlights here and there. But I'm just gonna pick up, like, some darker colors, so a bit of darker green or something here. Let's just you can see in parts, there are some darker areas that we have to emphasize. So it's a bit here, a bit here, look around the edges, like that. Um bit more green here. Yeah. Good. Okay. While the paint is still wet, this is the best time to do it. It's really the best time to do it because it's, it's gonna kind of blend nicely. I can sort of do this, sort of flick in a bit of paint, move the brush around the page. It's a bit here as well, here in the front, maybe some small shrubs and that kind of thing here, there. Okay. Okay. Let's have a look here in the back. So more little lines running across and, you know, shrubs and things also here. Do notice out in the back that there is some darker areas of the mountains that I can just as these grass areas, sort of, like, kind of elevated up, so I'm going to just darken in some areas. Probably the flat brush is going to be easier for this some spots here. I don't want to overdo it, but Okay, good. Good. Scratch off some little quick marks on the page. So see with this little pocket knife, you can quite easily lift off and create some tiny little marks, like little scratching out areas for the grass. And you see how it sort of blends helps to blend the grass a bit with the water. You can do that as well here. I try to make them a bit larger here in the front, like longer the blades of grass. You want to also Yeah, you also want to keep them varied so that they're not all the same. Okay? These sort of tufts of grass and bits and pieces in here, yep, more here. Let's have a look parts, bits and pieces. Yep. Here, here, let's get some more in here. There. Some more there in the back as well. Like this. Get a few more little bits and pieces here, okay? Pretty simple. Pretty simple, but it does help to create some interest in the scene. I might actually pick up a bit of yellow, in a bit of yellow and see if I can just feather some of this little bit of yellow through here as well, near the base. Um, bits and pieces. Like that. Okay. Because there's actually some yellow in there, but I've I've not really put it in before, so a little bit of this can help. It's kind of like an opaque sort of yellow value. Okay? I don't want to do it through the entire scene, but just something like that's gonna I think it's gonna be helpful. And you have sort of go back through it again with this little little pocket knife. You can use a credit card as well, does the same thing. Pretty much the exact same thing. Okay, let's have a look. Moving back into the distance. You can also just pick out a few little tufts of grass and just flick that fan brush through to create more texture and detail. Yeah, I don't want to overdo it. 57. Iceland Scene Finishing: So here comes the sky part. And what I'm actually going to do is maybe drop in some grayish value. I've already got some gray left on the palett. So I'm going to drop some of that in for some of these clouds, bit of gray there for some of the clouds so that it's not all the same value. Might have like a grayish cloud even touching the side of this mountain here like that. Right? Something there just to make it look a bit more interesting. Yeah, and gray essentially is a mixture of all the other values that you have, okay? Bit more darkness at the base here. And the rest of it, I'm going to go pick up some nice cerulean blue and kind of drop this in in areas. I've got that blue here. You know, I'm gonna mix that in here with that grayish value and move my way up to the tip of this mountain here. There you go. Cut around like that. There we have it. In there, maybe some more gray in parts. Um, some more gray and blue kind of mixed in here. Create extra contrast near the edge of these mountains like that. Um, yeah. So on top, let's start putting in some of this cerulean up here. There we have it, and we just bring that across, go over the top like that, just help it to sort of blend further up. Okay, good. Maybe a bit more so and up top here. Okay, so looking at these houses now, I'm going to be putting on a bit of darker paint, just some pains gray perhaps and some blue mixed together to get a kind of darker value. And I'm going to start working on some of these details of the houses. So the rooftop there. I thought that might look nice, getting the side of that rooftop. Use a very small round brush for this so that you can really detail better. Middle round brush. You bit of something here as well. Okay, good. And this can be that kind of that little field or whatever that's around the house. Okay, remember, there's also a shadow running to the right hand side of these houses. So yeah, that's gonna help. Just indicating something behind there. This house here has got, like, a rooftop on the right side and the left side's kind of just normal like that. Um, you know, that could be something there, as well, let's have a look. What else? These houses here just again picking off some details like that. Um ooh. Here, here, that. There, there. Let's have a look here. Here for those houses, you're almost almost just making some of this stuff up. I don't want it to look too detailed and forced. This could be some little house, as well, again. And you got yeah, like, indications of maybe a shadow running to the right for some of these, as well. So yeah, exaggerating this a bit. Let's have a look at this one, maybe a bit of darkness underneath these two houses there, and then there'll be a shadow to the right. This one, I'll just outline the roof like that and then move that shadow to the right again. Okay. This one, you know, might have a bit of shadow on the roof there underneath like that, you know, simplify this down. I've forgotten this one here. It's a little tiny little house in the distance, a little shadow to the right. Okay, so far so far so good. So I do want to just indicate some little details the near the water. So I've got some brown, and you can see here there's, like, little bits of darker areas near the water. So here, so just a little bit of indication there of the edge of this lake. You know, these are just dry brush. Dry brush strokes, and they're going to help to just create a bit of texture there's not much texture in this scene so far, but some of this is going to, I think, make it look better. Um, now, the mountains in the back, we could do with a bit of something, definitely, extra darkness in some parts. I'm using the side of the brush to imply some of this stuff. Okay? I've already kind of gone over it once, but this is another a third kind of darkening. Um, you know, edges of it. Sometimes you got these little parts as well in areas maybe there maybe here. Maybe here, you know, What this is just using a bit of your imagination and looking at the values within the mountains and looking at, are there some parts that are dark, some parts that are light and trying to indicate that? Okay. Then let's have a look down the base of the mountain. It's looking pretty decent. Now, one thing I do find that I might want to do is add in, like, a little shadow. I've not noticed this before, but there is a little shadow underneath the mountain. Here, I'm going to pick up just some blue and green mixed together here. So it forms like this ridge all across like there. And then this whole thing is just like a darker sort of shadow here. So let's let's get these kind of runs all the way into the back. That's behind these houses. I cuts around that and keeps going. There we go. So it kind of looks a bit like a shadow, doesn't it? Like a running to the right. There we go. And on the ground there. Bits of this cerulean that have sort of stuck out of this hasn't dried so well. I'm just gonna re wet that, move that around. Um, Maybe the larger flat brush would work better. Normally, I don't sort of re wet areas, but I think this can help for this particular occasion. Yep. Just to even out this area a bit more, yeah, I feel like it just needs some more a little bit more work and making it more consistent looking Okay, let's skip this quick little dry. But, hang on. Let's before I do that. I might just add on some little finishing touches. Some of these areas with the round brush, just some little really dark sections, yeah. Like, the rooftop there could be darker, maybe some little windows or something there window there on the front of the house. Um, window there, you know, here. You know, it's just a little bit of something that hopefully make this scene look more realistic. Don't want to overdo it. Yep. Brings out a bit of extra contrast in parts. Fantastic. And we are finished. 58. Gamla Stan Drawing: All right, let's have a look at this interesting little scene here, and this is in Sweden, the capital Stockholm. And basically, this is the old town they called Gamblestan. So you can see this nice tower in the back. A lot of these buildings are absolutely amazing. They're preserved. And I'm going to put in a bit of this area here at the front roughly where the buildings touch the ground. Now, I'm actually moving this up a little bit more. Compared to the actual reference photo, I want to leave less ground here and yeah, perhaps more of the actual buildings there at the back. It's just going to allow me to create a more zoomed in version of this scene because I don't want there to be a, just too much space in the front of the scene, but there's still enough space there to maybe get in some figures, some cars. Let's see how we go. We can improvise some of them. So first things first, I'm going to just go ahead and mark out roughly the center of this scene, so about here. Okay. And this is roughly the location of this building. This one that sort of is running down like this. Okay, you've kind of got the side of the building there. It's like a yellowish kind of building. And you've got this Oops, here it is. It's like a little shade here you see on the front of these shops. And you've also got the rooftop roughly coming up like here. Fantastic. Okay, there we go. Get a bit of that in, and we've got another sort of chimney like structure here on top. Oh, it's not a chimney structure. It is a chimney. And we're going to move this down to the back here. Okay, roughly down to the back, and we'll end it roughly there. Okay? You've got some of these roof sort of windows there on the rooftops. I'm going to just put some of these in. This. There's one bit of shading to the left. And let's do this one here. Now that Temptation really is there to just get in so much of detail, but let's not get too caught up in all of this. Just a little indication of those windows there. There's some railing up on the rooftop, as you know in some of these areas of the roofs, there's some maintenance areas. Who knows? You don't have to put that in, but I'm also putting in another chimney there, as well. I might put in another chimney there just to invent one. I think it going to look nicer. Now, what I've noticed is that the side of the building has, like, you know, a little slither of yellow there. I want to make that much more much more obvious, maybe something like this. Kind of making it look like the building from the right is casting a sharp sort of shadow, but you've got some, you know, additional light left there on the building, and that's also going to give me a chance to maybe get in some light here on this part of the building. Actually, I might just change it. I think So you can see here there's a bit of a slither of light on the reference photo. And what I will do is I'm actually going to maybe move it down a bit further like that. So we get some more light on the building, and, you know, maybe this can be a bit of light here as well on the sort of shade. And so this whole area here, This whole area here can be in the darkness, you've got a bit of light there and maybe a touch of light just coming across this little shade here, as well, like that. And then you have some darkness on the left hand side. So it's just, yeah, I just wanted to create a bit more of a yeah, a bit more of light coming across this area because there's going to be a lot of darkness underneath the building. And not even that, you do see there's actually a little umbrella here. I almost didn't catch that before, but there's a little red umbrella I you know, improvise a bit of that. Another one here, again, just sort of catching a bit of the sunlight out in the back here, here. There's like a sign. I think it's a shop, maybe selling something on the side of the road. It's probably from the restaurant, actually, maybe some patrons sitting there. Looks like there's some tables. Whatever it is, it's not a big deal. Okay. We've got some people maybe standing around underneath this area of the scene. We've also got maybe people walking more intentionally away or crossing the road, for instance, you know, this is going to be good to just imply like that. So we've got some people there. This whole area of the scene is pretty dark, so there's not much to put in there. I can scribble in a window here. And, of course, it's up to you how much detail you want to put in. Normally, I actually reserve a lot of this stuff till later. You know, with the brush, we can get in much more detail and not stress about the drawing all too much here, go to bring this kind of patterns shadow sort of pattern over to the right hand side. You've got, again, some buildings, you've got not building some windows. So I'm going to just improvise a few here, one, two, three, four, maybe five. Let's have a look one, two, three, four, five, one, two, three, four, five, and underneath. Underneath, you've actually got some other bits of shaded sort of areas there for the other shops and bits underneath. And they might catch a little bit of light, but other than that, I'm going to just yeah, leave them fairly just a bit of light there. But underneath will be darkness, okay? Let's go ahead and get this big building here on the right. I'm just going to draw a line running down the page here, the side of that building, and the rooftop comes out roughly about here, steps up there, and then goes back into there. Let's get in a few of these sort of guiding lines. Part of the building actually goes out of the scene, so there's not really much I can do there. This building is mostly in darkness, and I'm not intending to put in too much detail in here at all, okay? This is just going to be This is just going to have to be there to create this shadow, make sure that shadow actually makes sense. I mean, there's actually a bit of light here on this part here, see? That's hidden there. So I might leave that bit of light there. I can create another window just for the sake of it, as well, here, just this sort of top sort of section there, Okay. And there, apart from that, there's not a whole lot of detail I want to put into this. I want the main sort of focal point to be in the center here, especially this tower there in the back. Let's go ahead and get in some of the details of this rooftop kind of details. But firstly, I will put in this kind of line running down the scene like this, okay? Kind of like, you know, the sides of this building essentially, needs to be in there that Okay. Let's go. Let's go ahead and do this. There we go. That sort of runs down the side. Same with these ones. Check this out. All we do just follow these perspective lines. Okay? These sort of lines running across the buildings. Now it gets smaller there in the background. You can't see all too much. I'm going to put in side of a building there. There's another building behind. At this point, there's so little to really see in there that you don't have to stress about, you know, detailing everything. It's very far in the background, okay. The important thing is getting in this tower and finding out roughly where it stops. I think it stops just short of the rooftop, maybe here. Let me have a look. Yeah, roughly about here, the top of that tower anyway. So let's let's try and do this, bring this up here, maybe. And, I kind of got to make sure I do this in a way so that it doesn't look too, sort of, too sort of stuck on as well. Um let's just put in the side. It's like a rectangular sort of shape, but underneath the tower, you've got this sort of top bit that sticks out. Then you've got this bit thin, then you've got the bottom part here, which is like a kind of rectangular type of shape. There's a clock here. Okay. Fantastic. And there's also a bit of this sort of side section of it. Quite important to get in to make it look three dimensional. Okay. There's a little details in here that you can imply as well. Architectural details, the side of this part of the tower as well. Amazingly, just a beautiful tower back there in the distance and doesn't do it justice a little drawing, but it's enough at the end of the day to imply what we see in there. Now, the side of this building needs to go up like this, bit of this sort of section there, and then I'm going to get in the side of it. Not really enough room for the entire building, the side of the building, because the paper I'm using is not really long enough, but that's going to give me enough just enough to imply this scene the building to the left. I mean, so chimney, more chimney sort of structures here. Like that. I can spend all day doing that, but I'm not going to, okay? Sides of the building. And we've got a few sort of floors in here and also this area here, which is kind of dark and has some sort of shaded areas like this. There we are. There we have it. B in here, it's all just darkness. And, of course, we've got a tree here. I don't want to make the tree as large as it is in the scene. I want to make it a little smaller. It's taking up too much real estate and it's bugging me. So maybe a smaller version of the tree there like that. Okay. And of course, we've got figures and people just running through this scene. There's someone here that looks like they're kind of riding a bike. Put in the two circular bits and, you know, the wheel here, one at the front, one at the back. It looks like there's someone riding a bike like this one hand out there. Okay. And then I can sort of get a nice shadow to run across the scene. Um, yeah, I'm thinking this sort of this sort of light source, you really have to pay attention and make sure the light source is consistent across the scene. I might get the light source to run a little bit maybe a little bit forward like that. So it's on a slight angle, not directly, that way, you've got to make all of them kind of go that way as well, especially these figures here that are potentially walking around in the light. There's a fella here, kind of closer to the front of the scene. I'm making him closer anyway, one leg forwards and one leg back kind of walking in to the scene here. I'm going to put in some little perspective lines as well, so it looks more like a one point perspective like that. Yeah. So all the lines run to this central point in the middle of the scene. Right there. Looks more kind of implies more depth now. Okay, so I'm going to just put in a car here, maybe closer to the front of the screen. That's going to be the back of the car, and coming down, maybe a wheel here, a wheel there, wheel underneath like this. Therefore, we got a bit of a car sort of running through there, and it's going to be a shadow also running towards the front of it like that. Hey, Kate. Just try to make sure I get that in, okay. Maybe also have a second one just going over the top, as well. You know, another that. This is just going to create a bit of interest in this scene, bit of light, kind of rebounding off the back of these cars, okay? And yeah, actually, you know, these cars will not really be driving in this direction. They're going to be more sort of going sideways because this street here, I think they only allow some maintenance vehicles and stuff down there, but I think it's just going to look better, if I add in a few cars like this going down the road, it's going to make them look more it's going to make the scene just look a lot better, more interesting, more dynamic, as well. So Yeah. There we go. That shadow is going to overlap with the bicycle as well underneath the bit of darkness there. And quite liking this, might put in a person, another person here walking through the front of the scene like that. One leg at the back, one leg at the front. Heads too big. Let just edit that down a bit. There we go. So we've got a person, another person sort of walking into the scene. And of course, you've got this shadow running to the left. Well, so I think this is good. We can get started with the painting. 59. Gamla Stan Painting: I want to put in a light wash of cerulean blue in the sky, and I really emphasize that this has to be pretty light. I just want there to be yeah, just enough in there to imply that the sky is there, okay? So it is just going through here as well. Let's cut around this building. You can you can, you know, go a bit darker around the buildings. I do use this as a bit of a technique at times to create more sharpness around the buildings and more contrast. But apart from that, you know, just a light wash. This is only, I would say, not even 10% paint, 5% MX there. Okay. Let's bring this all across. And with this hot press paper I'm using, it just dries so quickly as well, so it really forces me to work fast. Okay, let's bring this down here. Alright, fantastic. That's looking decent, decent enough for the sky. Okay. Great. So a bit of color now for the buildings. Some of these, I'm just going to put in that same blue of the sky, a little sort of touch of that. That's a bit much. But yeah, just a bit for some of these ones, there maybe here, these sort of little windows up there as well. Okay. Maybe these ones a bit of blue in there. And now what I'll do is pick up some warm color. I've got some Indian yellow, here, which I'm going to use on this part of the building, and also maybe here, kind of the most strongest contrast in the scene. Okay. The The rest of the building, I'm just going to put in kind of a yellow ochre color, Kate, which is kind of just a very, very light wash of that yellow cut around. Go all look way across here until you get to the umbrellas. Yeah, but a lot of this stuff, you can just coat in the same color 'cause we're gonna go over it again anyway. It's no big deal. Okay. Now, that building in the background, I reckon I'm tempted almost just to leave it that color, but pick up a little bit of gray and drop it in to the center part here. It's kind of like an off color, off white color. The rest of it, I'm just going to leave. I don't want to touch it. Okay. So it becomes a bit browny back here, like a burnt sienna. Okay, burnt sienna. But it's still pretty light. I'm still using about 5% paint. Really important to mention that because you don't want to use any thicker paints, any really dark paints in here right now. These little umbrellas could do with a touch of this nice red here a little bit of that red running through, Kate. If it's a bit much, just mop up a little bit of that color. But it doesn't matter if it actually spreads because you'll find afterwards when you go over the top of it, yeah, it's going to it's going to look red anyway with all the darkness around it. So just a bit of that there underneath, yeah, maybe a bit of some color here, a bit of warmer color. Okay. Good. And these buildings, again, I'm just going to pick up, like, some kind of brownish color and drop that over the top. It's difficult. At this stage to really persist through and, you know, think it's going to turn into something because it's just we're just applying the light, okay? So it shouldn't really look like anything yet. Okay? I'll just cut around some of those windows that I left blue, a bit of blue in there. Okay. Great. I'm going to just also do this building quickly. Yellow Ochre. Uh, maybe a bit more of that bright yellow that I had before Indian yellow. Okay. Good, good, good. You know, cutting around some of these windows quickly. Okay. Fantastic. Now, I'm just going to move into the ground the ground. And I've got really just a grayish puddle of color here, which is a mixture. If you mix all your paints together, you're going to get you're going to get this gray value. I've already got some on the other side of the page anyway. But it's a fantastic way to just come up with a real basic gray color, okay? Just bring that further down, cut around that figure like that. There and we just continue to bring this wash through the page a bit more. We just going to drop in a bit of pains grain here to just neutralize it more. There's some cars in there, you can see. Yep, just cut around them. Okay. You can actually see Bona start working a bit on the cars already. So like, for example, we might just put in that part of the car and so that it looks like, you know, it's mainly the back of the car that's illuminated. Okay. I'm the back of the cars that are illuminated there. Um, Good. So that's all basically your first wash. So let's leave this to dry, and we'll come back to it in a moment. Okay, now moving on to the next parts of the scene. And what I will start doing, I think, is work on the rooftop here of this building. And let's keep it simple. Bit of pains gray. If you've got any other sort of gray, just use that. And I'm going to go very kind of, it needs to be lighter than that. Lighter wash of gray, something like this, into the right side of this rooftop, causes actually the rooftop here is actually a bit bit more lighter, a little lighter, if you look at it, compared to the left hand side. So this has to be definitely a little lighter. Okay? And I'm trying to find ways to just leave out bits of the bits of the yellow and stuff on the roof. Okay. And now we've got this shadow there. Alright. And this area is kind of a little darker as well in here, so I can just just start blending some of this shadow downwards like this. Okay. What I actually do is just cut around that and make it look like the light is just managing to create a bit of Just touch the tip of that edge of that shade there. I think that's just going to look better. I was going to try to do something more complicated, but it might not make sense once we're done. So yeah, just I always have to remind myself to keep things simple. Okay? The roof of this is gonna be a bit darker. Let's join that on. Here, great. Yep. Yep. Are lines sort of running through here as well for the bits of perspective lines. Okay, but I need to bring this down on the right side more more of this Paine's gray. I like Pain's gray because it's not like you know, it's a gray that's made out of a few different colors, so it doesn't look dead once once you paint it in there. If you use ivory black or something like that, it just really you just lose the life out of, you know, your scene if you overdo it. So yeah, I'm sort of thinking whether I want those bits exposed like that. I think I'll get rid of that one. Maybe that one. I'll leave these ones kind of exposed and carry on again to the left hand side. This is just the same kind of pains gray that I'm using. Now, it's going to be darker on the left hand side by a bit. Okay, now, kind of opportunity here to just cut around some bits and pieces. I might have like a slither of light there. That. And the rooftop maybe of that building and then have some darkness to the left of it like this. Okay. So you're kind of just leaving out a little bit of light here and there. Okay. More of this gray, and let's bring this down cutting around that umbrella further down the page. There's another one here as well. And again, I'm just really going quite dark to make sure that it sticks out. I'm trying not to go back into these areas as well once I've painted them. You can do that, and there's no problem whatsoever, but I find that it just leaves a cleaner sort of look Okay. Yep, the legs of this figure here. You know, look at that kind of walking in the back. There you barely kind of make out people, but, yeah, that's the great thing about this sort of these sort of loose scenes. You just make it up as you go, okay? Don't have to put it to really emphasize everything to the point where you're just pointing it out. Okay? There we go. Now, this building here is going to have some shadow pattern there. Look at that. Look at that just quick little shadow pattern running to the left. I don't want to overdo it. It looks just cutting around that. Okay, like this, there we have it. This is a tree. Going to be a tree here, it's actually should be need some green, no way around it, little bit of green or something here with this tree. To dab around. Don't usually like dabbing, but it's just a way to try to get in some of those marks that might appear like leaves. Maybe we can just lift off, this will be okay. Just lift off some of the paint like that so that it looks like some leaves or something there. Then we're going to just blend the pans gray onto the left of the tree for general shadow shape there. Okay, good. That figure here at the front that's looking pretty decent. Lost out some of the detailing bits here. So just see if I can maybe do this indicate some little architectural details. You can even sort of go in and put in some of these windows, just dropping in a bit of paint here and there. Yeah. Yeah. Some more little details on the roof. You know, there's these sort of darker details of the bits and pieces on the rooftop. The whole aim here is to just really preserve the light because we're at risk of losing a lot of it if you're not careful. Okay. I sort of bit of the perspective of that building, as well. Let's just keep on figuring this out a bit. Okay. Good. Here's the tower in the background. Gonna pick up a smaller round brush. Let's just try to get in the edge of it here. Yep. There we go a bit of the edge of it, you've got the top here. Still, not as dark as the gray here, but enough for it to come out. Um, just cutting around that clock a little bit. There's a little area here as well. And, of course, the top, which is pretty dark. Why you some details up the top there like that. Um, you know, you've got these little again, architectural details that you can pop in there to kind of give it more presents back there. Let me just try to get this side of it better in a bit better. Okay. Good. I think that just wanted to make it look more three dimensional. Okay. Great. Now, this building here on the right, I think I can do this quickly with some pens gray and a flat brush. I just want to simplify this, get this in quickly. Maybe brush is a bit too big. Let me just grab this other one. Yep. I want to make this one probably darker, actually. Yep. I cut around some of the windows, not fast, just want to imply this I leave. Yeah, you can leave some windows if you want, or you can just simply bring this wash down. I'm leaving a few of them in, like that. Just to imply give that building a bit more of a presence. Okay. I don't mind some of these blooms. I don't think they're a big deal. I do get them on hot press paper. Yeah, I always recommend beginners to use to not use hot press paper like I am because it's just a lot harder to control. 60. Gamla Stan Finishing: Okay, let's get in these cars. I'm gonna put in some detail here. I'm going to blend perhaps some of the shadow from the building downwards like that. Okay. Can be a bit of it. Yeah. Side of that car, and just joins onto the building there. Let's make that a lot more stronger. Yeah. Okay. And let's drop in some dark paint for the wheels. There will be a shadow underneath the car as well here like that. Just to bring out that white of the windscreens. Also the figures, the legs of the figures, you can start kind of implying some of them here already. So yeah, I'm going to just get in that shadow quickly like that. And also the shadow behind this figure that is kind of actually formed by the car, so check that out. Cutting around that figure. There might be more shadows running also in the front like that, as well. Shadows of those figures back there. Cut around the head of this one touch. Okay. Let's get into wheels of this one. So just a couple of darker sort of wheels back there. Again, the shadow pattern is going to run to the right. I've got to be careful here. This is the cyclist. Just a touch of detail. Oh, it's going to be tricky. The shadow Okay. I managed to do that right. It's just tough with this car. Probably shouldn't have put the car there at the same time. But, you know what, what's done is done. And this figure there, darkness with the front leg, bit of darkness with the back leg, and, you know, sort of shadow. Check that out. So lots of contrast here, a ton of contrast. Okay? I might try to get in maybe a bit of the left side of the car here to signify, just make it look a bit more three dimensional on the left hand side. Let's have a look. What else do we have? You know, the windscreen, I'm going to just maybe outline a touch. As the wheels. Did I get the wheels in okay? Sort of? Just trying to find, like, a bit of extra darkness behind the figures to paint in. There's all kinds of stuff on the road, really, but I don't like I don't like to put in all the signs and everything like that. So that's why I'm just kind of I took out a lot of that detail before. I will put in some little perspective lines, some darker paint, and I'll see if I can just drag the brush through like this. There we go. Yep. So parts like that. I just wanted to kind of look more three dimensional. Um, you don't need to really do this. Okay. It's looking right. Leg of this figure that Good. I mean, a lot of the remainder of this now is yeah, just kind of touch up work and seeing, for example, if you want to put in, say, there's like a tree shape here, whether you want to put that in on that side or just go with what you, you know, go with what you had before, little windows, you know, on the sides of these buildings, like, 'cause that paint has already dried, so we can imply some of this stuff. You know, you're in some darker windows here. If you've got a little rigor brush as well, you can even just use that to detail further. H Okay. I think what I will do is, yeah, I've decided I might actually go in with that tree to the side, picking up some green. Let's just get this in. I just think it will help balance the scene a bit better. Let's mix a bit of pains gray with this screen, and I'm going to just bring that in like that. Uh I might look too great, but let's see how we go. Yeah, I think that looks okay. It looks alright. Kind of helps to balance it out. Balance out the scene a bit. Maybe some little twigs. Branches, kind of thing. You actually coming in from the left. All right. Let's give this a dry. All right. So finishing touches. I'm going to go in with some white paint. This is just some titanium white and a bit of water to activate. And I do notice over here, for example, that there's, like, a little pole. You see there's like a little pole there, and on top, you've kind of got these little signs and stuff. You know, here, you know, you got another one, another one there. So I'm just gonna bring that down like that. Might have another one potentially here. Let's just, you know, pretend. And these might look a little bit funny for now, but they actually help to break up all this darkness and add in a bit of sort of extra interest. You know, these little stems as well for the umbrellas. Look, this would be great. Tiny little bit of light there for the stems and also on the right hand side of the umbrellas. It's it's just a bit of white. That's all. You can use it on parts of your painting. You know, for example, this type of part of the roof. You know, I thought a bit of that would be good there. Shoulders. This is really for touch up purposes. You know, you don't want to you don't want to overdo it. You know, maybe another something here and here. And maybe here, it helps to just break this up, break up all this different details and stuff. We'll get some poles, maybe a pole back there in a darker paint. Let's put in a bit of yellow into this white, and just to create these impression of these signs or whatever. So there's like a something here and here, these road signs. Yeah. Maybe that. Then grab the red paint, wherever it is, bit of red Pirral red. Let me go. So they kind of look like, um, signs or something. Yep. So darker paint. I'm gonna go up here and get in this indication of these street lights. Okay, this dry brushed on. Are there any more. I'm surprised that there's not actually any other lamps or something. You know, I'm so tempted to put one even just running down here. There's even there's not one there, perhaps, just some indication of something there, um, like that in the same kind of, same kind of style as this other one there to the left. This is all basically stuff that you don't have to add in. It's just what I'm doing to try to bring out some details, but you don't need to do this. Detail for the sides of the buildings as well. Maybe these little perspective lines to indicate the floors. Um, bits and pieces on the roof like that. Like railing. Yep. It's really these are kind of the bits that you put in right at the end when you've got the luxury to do so they only work once everything else is in nicely. So this window here, I want to, for example, bring out some of the details of the window frame. So I can put that one in there. Let's just try to get something up the top here as well, this window frame, okay? And you run the risk when you do this sort of stuff of really overstating things, so you know, less is more. I might add in a bit of blue for this figure because a lot of this whole section is just white, so a bit of cerulean blue. Maybe just a shirt for this figure that bit of cerulean for the blue sort of windscreen like that. Just a bit. Alright, and we are finished. 61. Lufoten Waterfront Drawing: Okay, let's go ahead and get started with this drawing. I'm going to put a line through right at the back where the mountains and the little houses there touch the ground, and it's just below the middle point of the scene. So roughly there, okay? I'm going to draw around these sort of houses, and you can see it goes out and around there, comes down to the front of the scene, and there's sort of rocks and stuff. Here, okay, let's bring this over to the left hand side, and we've also got this kind of little art here that goes out into the water, these rocks out to the water. So let's get in some of that detail there. Okay. Now, let's do these mountains, and I'll probably start right in the center of the scene. And you can see there are some kind of little mountains there in the back, sort of goes around like this. You've got another layer of these sort of mountains here. You know, I'm just trying to, I'm just trying to make sure I've got a really nice line where these mountains kind of start and finish. So it's not there, and then you've kind of got this little mound thing here goes down and disappears off to the right. A lot of this stuff you can also change around later. Don't worry if you feel like it needs some extra work. These are some ice capped mountains here in the background. Always welcome those, yep, just a sort of mountain here in the back and then another kind of ice capped mountain there to the right. And, you know, these mountains here in the center as well are, you know, they have some little ice caps on the top, too, so I'm going to take full advantage of that and even emphasize that a bit more. Okay, I'm going to just let's do this one first. This sort of one coming in from the side, and there's an ice cap mountain here like that. That going down. Don't worry too much about all the tiny little details. You know, you'll get it. You'll get the general shape and outline of these mountains. The great thing about these mountains as well, is that they are all at the end of the day, abstract shapes, so we don't have to fuss around too much. Okay, let's do this one. Yeah. It's kind of like a tip there, and then it goes over to the right. Dips and then you've got a couple of kind of peaks here through the back. And this one actually comes down in front like this. Okay? So this area here is actually kind of darker. These mountains there on the right. Yeah, you can always just do stuff like try to color in, as you see here, just a bit of these marks that you see on the sides of the mountains here and here, here, for example, Okay. I mean, in the background, these are kind of darker except for the tips like that. Got a lot of light just coming forwards on these other ones. Okay, so you've got the general shape of these mountains, and now, you know, a lot of these others, you know, you're gonna have to, we're gonna have to sort of wing this once we get the watercolors in afterwards. It's not going to be a huge deal. Yeah, this sort of shape here where you've got the shadow on the side of the mountain. I just sort of wanted to color that in a bit. Then you've got, like, a bit of dark here at the base, as well, something casting a shadow on that area of the rock. Alright, now here comes the fun bit. We're going to put in all these little houses and bits and pieces. Now, there is some kind of bush here or something of that. Okay, it's no big deal, but I do see this sort of white house here. It's just a square at the base, and then the top is like this triangular shape like that. There's some windows on the house. Let me just extend it out a bit further like that. You know, there's, like, a building out the back here, triangular sort of roof coming down. You are basically just picking out some of these details, and, um, basically implying tiny little houses and things here, okay? It doesn't have to be rocket science, just small houses, and you can see them like overlap with each other. A lot of these houses have that similar sort of design, so you can kind of uh, yeah, you can sort of just draw over the same ones again. Yeah, you're basically just picking out some of these repeating structures here off in the background of the houses, some of them facing forwards, you know, maybe some trees in here as well. You know, some of them are covered in the middle by some trees, but they do have a little base. They're kind of these white overlapping shapes, okay? Don't worry too much about all the little details. Here in the background, I mean, they just get real tiny to the point where they're just like little, you know, little boxes. As you can see, tiny little boxes. That's about all I can make out of them from a distance. So, you know, make them smaller. This is going to help create that sense of depth. There's a little bridge here. You can see just sort of connecting the two halves of the painting together. And you can even see these tiny little houses just near to that bridge here, just running across like that. It's not too much, just tiny details again, near the edges and maybe some that are just triangular shape to indicate the, some differences in shapes. They go all the way up really really the foot of the mountain. Some of them are kind of on this even this little road like structure up there. So in the distance, that's all you want to do imply and yeah, not overthink it. Okay? Now, this stuff here, again, is the you know, the shrubs and stuff. There's actually a house here, kind of behind. That's going to be white, perhaps, another one here, another sort of squarish shape behind like that. And then we've got some of these other ones that are getting a little closer to the front of the scene like this, you know, overlapping with other shapes. Here. Okay. Let me see some of these. They're almost like boat houses. They sit on the edge of the water. There's one here, like a larger kind of roof that just runs across like that. Comes down, and there's, like, another one actually in front of it here with some things there, and then you've got this shape that could be a boat in there. That could be some sort of boat next to this area. Here. This house here has this kind of jetty or something near the water and it connects it onto the water. But the rest of this is just like shrubs, that kind of thing. Camp. Let's have a look. Let's have a look. Maybe you put another one here kind of facing in this direction. Okay. Again, maybe with the shrub in front. So you've got this idea this sort of scene where you've got, you know, large objects in the front and slowly moving into smaller objects and smaller details in the back end of the scene. That's really what you want to make sure that you've kind of got in this sense of decreasing complexity and decreasing size as well. You know, over here to the left hand side is probably the last part we need to imply. Again, these small houses, you know, they're just look at that triangular kind of rooftops or something like that. Tiny little houses see in the distance. You know, you can sort of put in a bit more detail for some of them, like the rooftops. There, once you get the hang of drawing a few of these, they become pretty easy to just put in. Um, They sort of some of them just sit closer to the water as well, maybe here, and you can see the bank there as well, it goes in. There's that road running behind the houses as well here. Okay. Fantastic. So I think that should be good mainly for the drawing now. One thing I just want to quickly do is do notice there are some reflections in here, so I'm just going to mark out a rough guide of the reflection of that mountain and then a rough guide for the reflection of this one here, too. Okay? Check this out, just to make sure that we have some sort of reflection structure in there because that's going to be important for later. Let's get started now with the painting. 62. Lufoten Waterfront Painting: Alright, so for the start of this painting, I want to get in some of the details, okay? For these mountains here in the background first, and I want to put in a really nice sort of golden yellow running through parts of this. This is a bit of Indian yellow. And I think this will kind of help imply that morning light coming through. So let's just drop some of that in here. And it's really kind of a greenish value as well, to be honest. Yep, let's bring that across here. Okay. But yeah, the yellow is really going to help to imply that light there in the background. And of course, we've got all these little houses and things here as well. So we can cut around some of them, and some of them will just leave pretty much that same value, that same yellow value running through. There's a bit of this yellow here as well on the side of that little area. Let's put in a bit of green up here just to you can darken down that left side. And of course, I really like some of this ice capped stuff here on top. I'm going to use a bit of Pain's gray here just to make this area cooler in color, get it to blend in with the yellow. And also, when I kind of move up the top, I'm going to just leave out some white here and there. It's not a whole lot of, in terms of the methodology of this, you're just cutting around, leaving out some of the white. That's about all about all that you're doing, okay? Okay. And let's move along to the right hand side here. And I'm going to pick up more of that yellowish paint. And look, I mean, what can be helpful as well is if you maybe drop in a bit of green through this, like there. Yep, in areas, but also leaving around that nice yellow, okay? This is kind of like a yellowish value there, and then the bottom is green for the grass and maybe a bit of darkness below. Here, let's grab some brown. Just drop that in here like that. Okay? Fantastic. A bit of ultramarine blue actually is gonna help a bit more. Just want to get rid of that. Ultramarine. I'm gonna go more bluish in this section here, okay? Just to cut around these shapes here in the background. Yep, keep it kind of bluish because it just makes pushes those mountains a little bit further back. And I might add a little brown to it as well, 'cause it's not like 100% blue, but it does have a cooler tinge to it. Okay. More of that yellow value. I'm going to add that up here, and it's kind of like a greenish yellow value, which is good, actually. I don't want it to all be the same value bit of this kind of creamy yellow color as well. I'm gonna drop in here. Okay. Y. Let's just move this across. And yeah, see, I'm just cutting around these little houses. You know, the flat brush helps with this a lot. It's what you leave out often in watercolors that makes a huge difference. Okay, here is just the tip of the mountain. I might leave out a touch of white on top of the tips as well, just to imply maybe some snow hanging around up there, the beginnings of some ice forming, you know, in the background. We have some darker values here for these kind of mountainous regions. And actually, I'm going to extend that out a bit. I've forgotten to include the potential ice cap on some of these areas. So just like this, I'll cut around slightly, and, and just make it darker down below. You kind of have to do this sometimes just kind of improvise Okay, a bit more maybe darkness running through here. Not all of this you're going to need to worry about. Just, add in a bit of wet and wet where you can. Otherwise, don't bother, really, you can go in with the second wash afterwards. Anyway, after we finish. Okay, so I want to add in a bit of blue or something up the top, as well. This will help. Let's move further down the page. And I'm going to pick up like a green. It's just a leftover green left on the palette. And I'm going to move this wash downwards and add in just a yellowish green. This is tricky. I'm going to use a larger brush, larger round brush, but it has a small tip. That way I can still cut around these little houses because really, at this point, you know, you're trying to preserve some of these values. Okay, here we go. Just drag this through down the page, you know, where you see, like, a triangle forming for the part of a house or something like that, just cut around it, like this. And, Kate. Of course, you can leave some of them darker as well. Okay. Just carrying this downwards. A bit of brown in here, too, so that it's not too greenish. Okay. You know, this part here, I think could do with some blue or grayish pains gray here so we get killers to the front. And I'll leave some white in there as well to maybe indicate the beginning starting formations of snow in here. Okay. There was some more gray up there. Just looks a bit too too colorful. So like this same So rocks and things running through the water. Okay. But I'm going to bring down some cooler color, but before I do, let's start on the top of the scene and work our way through from the top to get these kind of mountains in. Well, the sky, sorry. So just cerulean blue for this. I'm using a flat brush to try to get this in one go. Bring this down the page, okay? I'm kind of tilting the paper just to help the uh Yep, just to help the paint move a bit further down. And what I'm doing here is I'm kind of cutting around, see how I'm just leaving maybe some snow or something, indications of these white tips on the mountains. Okay. Just on parts of it. They may not actually be there. Well, they're not actually there, but I look, I just want to do it to kind of make this look a bit like the beginning formations of snow. And as we get closer down here as well, I'm doing the same thing. Let's just cut around this mountain tip of that one there here as well. Look, I'm just going to touch darker, and this is helping to really draw out those bits of ice indications of ice or what have you. Here, there would be maybe some as well, the tips of these areas in the back. Okay, good. Another idea I thought of just then is maybe getting a bit of darker paint and just adding in some indications of some clouds, this grayish cloud you see here just kind of coming in from the edge like that, maybe something here, up the top there. We're running across I don't want to overdo it. Might already have that top part is dried. But yeah, I don't I just want to create a bit of extra detail and drama, I guess, running across this scene. Yeah, just a bunch of clouds would be interesting. Yep. Eave the rest of that to dry and see what happens. Okay. But while the paper is still wet, this is the best time to do this kind of stuff because, yeah, you've basically got a bit of wiggle room before before it dries off. And you see here sort of bits of the paint have kind of pulled in areas. I'm going to just lift off in some parts like that. Kate. Great. And I'll move my way further down the page. But firstly, let's put in the blue here in the water. It's kind of just mirroring the sky, but it's a little darker than the sky. Adding a bit of gray maybe. Yep. Here. Let's do this here, bring that across and cut around these rooftops. Kind of looks a little bit like the beginnings of snow here on the edges, which is what I want. Let's put in a bit of a reflection for this mountain, just a quick indication of it running through the water like that. So more of that warmer value to the right maybe here. We'll do the same for this one. So it's kind of like you can just use a gray value that's going to be also fine. Because the paint is still wet, this makes it so much easier to carry this effect out rather than kind of waiting till the end. But chances are we'll probably have to go through it at the end anyway to bring it out. Sometimes it's just not dark enough. Okay, let this dry off, then we'll come back to it. 63. Lufoten Waterfront Finishing: Let's move on to the next stage of the painting now and what we want to do is start putting in all the shadows, especially the shadows of the mountains. We've also got this darkness here to the left and right. I'm going to keep things simple and just mix up a bit of pains gray or maybe with some ultramarine blue here. So brown would also be good to just drop that in there. But mainly I want a cooler shadow. Okay. Might start here. Let's just get in this shadow. You can see it come across there, and it just forms a bit of a shape there, runs down. It's kind of, you know, doing this shadow, again, to be honest, that shadow that's already sort of in there. You can see it kind of extends down here. And comes onto this area here. At the base, we might have a bit of extra darkness. I'm going to mix up some gray and a bit of brown to just drop into the base like that, okay? Because that's going to just anchor this down nicely. Okay. And let's have a look what else we might sort of move on to this side, which also has a bit of darkness here at the base sort of areas. I find the flat brush to be great for these types of sporadic little marks, okay, because it's already the same shape. And yeah, it has a very straight sort of edge, so you don't have to focus too much on accuracy. Okay, great. You know, maybe some more bits and pieces up the top here, so black and a bit of brown again just to maybe, yeah, bring out some more of this indication of the sort of snow tipped edges and areas. Yep. I want to I want to overdo it, but, yeah, you can see just sort of drybush a bit onto the paper like that to indicate some of this stuff. Kind of tempted to pick up a bit of green here as well and just add in a bit of that green around the houses. Mop that up a bit. Okay, so this is yeah, I just want to make sure that these houses sort of show up a bit better. Okay, but we still still want enough light running through. Okay. A bit of blue again for this part here. Yep. Going up into the mountains and we've got a nice sharp edge, sort of coming up this. Again, I'm just sort of really loosely implying all this in the background here, maybe a bit of blue Again, just to separate off this part of the mountain from the other side of it. Do you think some brownish green kind of color here would be good, as well. Just subdued down. Just on this right hand side, to blend a bit of this stuff together. Yep. Let's go. Yep. Yeah, the light source is really coming from the right hand side, so Yep. I'm going to swap over to the round brush. And here I'm going to pick up some darker paint just left over on the palette, that same pains gray. And I think I will start maybe implying some bits of the roof, you know, the sides of the buildings. Like this, you kind of just cut around the white sections. That could be little houses here, a light underneath here. This is going to have some darkness on the left side. Yeah, you're really kind of exaggerating this a bit more than in the reference. Okay. I'm leaving out more of the white than I'm actually coloring in. Okay? Some of the ones in the back, you can just do a little line like that and it looks like a house maybe in darkness back there. Okay. The smallest market times can just really make or break the scene make it look like something or not. That's why I kind of don't spend a whole lot of time drawing at times. I just try to get in the basics in there, and then the brush work is really for me the opportunity for me to spend more time into detail, because if you draw all this in my hand, you're just going to have to go over the top of it anyway. So yeah, simplifying these sort of shapes down is the I mean, it's one of the best ways to imply detail. And, yeah, again, just kind of trying to indicate the light source coming from that right hand side. Okay. Don't have to overdo it. Just some little bits of darkness on parts of the scene. You know, here in the front, it really just becomes pretty dark. Like the rooftops and things become more of a more of a feature. Then you've got this boat here which I don't know how I'm going to get. Just draw it in maybe like this, paint it in. That looks something like a boat. Of course, you got this little jetty as well. Let's just paint in a few little lines, some brushstrokes. They're connecting up to the house here. Okay, little bit of that house. And on the underneath here, it's just kind of like this dull blue gray value. Can you see that? It's just quite a boring, kind of blue grayish value, but I'll put that in to really bring this out. Sometimes the flat brush will help prevent me from overthinking, okay? Just leave in some of that previous wash as well so that it's not all the same thing going on. I really want to make it dark in the edges, though, just so that it appears kind of yeah, sort of this increasing sense of depth. Okay, there we go. Some of that going upwards needs more blue maybe like that. More gray and more brown here for some of these rocks. I want to make this pretty pretty dark, mind you. So Yep, some of the stuff for these rocks, you know, you can see underneath everywhere. There's a ton of them. Some of them just sort of go out into the water. So, you know, it drops some of that in. So little darker striations and things on the mountains as well, just kind of running through. I'm drying off the brush. Pick up that darker paint, dry off the brush, and then yeah, basically kind of go in there and indicate what you feel is necessary. I'm just going to put in, a few little marks like that, you know, here could do with a bit of something. Really, the mountains and whatever out the back look quite okay. I don't not fast really with with how they look right now. But a tiny bit of maybe extra see, a little bit of extra darkness in some parts might help. This area in the back really want to bring that out more. I'm gonna redo Irick and I'll just redo some of this shadow reflection here in the water again, like, so that we have some sharper reflections as well, running through this interesting area here. But kind of just an ultramarine blue mixed in with some gray. I do a bit here. So well. Now, I also will put in some sharper sort of downward brushstrokes for the reflections of the houses and things later. But for the time being, I just want to work on some of this stuff, and, you know, notice I've got some soft reflections, and then these are the sharper reflections to get like, you know, both kinds of textures showing through and here. It's just gonna make things look more interesting. And always try to find a way to just join up by making maybe a few little few little brushstrokes run across the page like this. Yeah. Okay. I've got a flat brush and I'm picking up really dark paint, just paints gray, dry off the brush. And I'm going to go through and put in some sharper details that might have been missed out. Okay, like that. It's just your opportunity to detail and make it look like this stuff in here, like windows, for example, Okay, tiny little windows, yeah, little windows in the distance. I reckon a smaller round brush might be better. I'm struggling to get the Yep, that's better. Just struggling to get the level of detail I wanted before. There could be a house there with some windows. You know, a lot of this stuff you've kind of lost out if you think about it. So I'm just, like, trying to imply detail where there's really not much in there by touching on a little bit of darker paint, like here, just indicating that rooftop, a couple of windows like that on the side of the buildings there, you know, here, the rooftop, again, you can really just dial into that the edge, like that. Just brings some details out. Even if you just indicate a bit of the roof or something or the left hand side, the part of the house on the left hand side, you'll find that just a little touch up here and there can make such a big difference. Well, fred kind of done it there, but Okay, got a filb brush or flat brush, whichever one works for you, I'm gonna pick up some white paint. This is just some titanium white. And there's a bit of yellow mixed into it, as well. Okay. And let's just go down the page with some of this stuff to indicate, like, a little reflection of some of these houses and things. Okay, quick little strokes like this in areas. Uh Yep. I can even make some little phantom houses here, some new ones there that I hadn't painted in before, bring them back. You know, sort of bring some of this also through here. Okay. More white maybe. Just a little bit more white the beginning of it. Okay. Some of this you can sort of put into the rocks and houses and stuff to indicate a bit of yeah, just like a bit of light or what have you. Quick little spray down some I'm going to spray some of this area down with some water. Okay. And why am I doing this? Well, I want to potentially scratch out some highlights and grasses here with a little little knife. And this is just going to give a scene a bit of texture. Yeah, kind of helps me just to blend this area of nature here with the rest of the scene. The little scratching out like that. Do it here as well. Some little bits bits and pieces that you can get hold of. Okay, and we are finished. 64. Stockholm Street Drawing: Hey, let's get started with the drawing, and we want to give enough room at the bottom to basically get in this nice light pattern. So I'm just probably making this about a quarter of the way through the page, okay? Just a bit less than maybe a quarter. And this is basically where the building in the background touches the ground. So you really have to estimate this one and just go for it. So that's roughly where it is now. The center of the scene is about here. Okay, a little bit left of the center. That's where this building starts. So I'm going to go and just start off. Let's just figure this out. We're going to the big thing is really just making sure I'm leaving enough room on the top, for the sky. And I don't mind making this building a bit taller, actually, because I just think yeah, the perspective, the way that I took this photo, it just looks a little bit too building looks a little bit too small, so I've made it a tiny bit taller, okay? And the rest of it, you can see, there's just shapes running through the buildings, okay? There's this sort of rectangle. There's this part that comes down like this, there, another longer sort of rectangle, there then you've got the bottom part of the building. Okay, there's lots of little ornamental bits and pieces on the buildings. But, yeah, you just want to look at the main shapes and go from there. There's even see a couple of windows here. So there's a window there, window there. I think there's one here, one here. Then you've got four run across. And then there's 121, two, three, roughly like three floors. Here at the bottom, you can't really see all that much, but, you know, you've got like, one, two, three, four kind of windows there, longer ones beneath that. Another set of these longer ones, and then the bottom is just can't quite see, but there's doorways entering the building like that. Behind this building, there's also some kind of structure that goes across like this and forms a dark sort of shape. And this then turns into the the shadow part of the building. So let's just kind of indicate this. Oops, went a bit too far out there. Okay. This is sort of this whole area is going to be in darkness. I'll shade it in to remind myself after like that. It's like the side of the building. This stuff running down like that. Right hand side of this building, you've kind of got this structure here running through the center of it, there. And then the rooftop sort of starts roughly here. Just bringing that rooftop across and roughly down here. Good. There we go. You've got a rooftop here, and then there's a tower here on the right hand side. Yep, kind of goes up like that. And it sort of runs down the entire side of the building. What an interesting little structure. It looks like maybe someone lives could be, like a part of the kind of the viewing point of the building. I don't know. It looks really nice, though. Okay, it comes down into the building like that. Now on the rooftop, I want to get in these little windows here. So they're just like how many are there's six of them. I can go one, two, three, four, five, six, maybe. Yeah. So these squarish shapes running through here and triangular tops. This and you've got these shadows running to the left hand side, kind of looking like the sun, I guess, just casting, causing this shadow to be cast to the left. There's also some little chimneys. Let's get in some chimneys like that. There's another chimney here. Let's get that in bit of the shadow to the left of the chimney, as well. Okay. Another something up here. I don't know what that is. Okay. It's gonna be interesting because this is going to cast a bit of a shadow here, too, this structure, like that. I don't know if I want to actually make this more detailed or not. I think that should be okay. All right. So the same sort of deal with these other floors, I'm going to just draw them in like that. So, one, two, three, and the fourth sort of part of it. I'm gonna bring this building down a little bit more, so I've got some room. Larger sort of doorway here. So you're right at the bottom. And check this out. There's some cars here. Just go to draw some of these cars you can't really see them all too well, but the wheels I can just make out behind here, there's even a person, walking around in the background there. As well, just sort of put that in. That person. The windscreen of that C there is another car sort of behind like this. Here we are another car. And yeah, sort of draw things around the general proximity of everything else. This window, just kind of repeating these structures of the windows. Like making sure they're kind of directly above and below each other. Like that. They're just rectangular sort of shapes. That's all. I don't want to detail these too much because we'll have an opportunity to do that later on with the watercolors. And, you know, you do have some windows also around these sort of sections below glad base of the building. Yep. Great. And, of course, you got this shadow running across the entire building from a shape coming from outside the scene. Okay? And really there's a whole bunch of buildings on the right hand side. So it's just it makes sense that there's a shape sort of cast there. It's a tree here. To the right. There's also a bit of light and stuff coming around there, too. You can also put in maybe, you know, back of a car or something here just in the distance, maybe a couple of cars. It doesn't have to be much, but just something to indicate maybe there are some cars 'cause this is a road, if you think about it here. Road that sort of comes across out of this scene. Then you've got this part of the road that comes in. Oops. It's actually comes around here, but that could be another road running to the right. Let's see. Oops. Then this one here comes and curves around, exits out here. Then this footpath curves around and then forms part of this general road here. Got a car here. Got another car behind it there. Maybe another one. It's just sort of in darkness. A bunch of cars maybe on the side of the road. Great. I will go up and create this shape of the building to the left, this darker building. And really for this part of the scene, I'm going to have to correct the perspective a little bit because it was taken with my camera, and you do get this odd kind of bending bending of light in the edges. So just straightening this up. On the edges, some of these lines. There we go. So that's a building there to the side. Great. You know, there's another one here. I try not to overdo these buildings as well. I don't want them to be a huge feature of this part of the scene. They need to be put in, you know, somewhat carefully as well. The perspective running down the sides of these buildings. And you don't have to again, detail these buildings too much and get the exact floors and things like that on them. It's just some type of shade maybe here in the building. You can see might be handy later. Let's see how we go with that one. We've got a person walking here, just near to the shade. Okay. And this flower pot here. I don't know if I want to put that in or not. Yeah, why not? Let's just do it. This is going to cast a bit of a shadow on the wall maybe. If I move it up, it's just too far down at the moment, maybe here. Yeah, there you go. I might cast a shadow on the wall, same with the figure. I really feel something is missing here. I reckon I will put in I reckon I will put in a car here, just maybe driving through the scene. Okay? Maybe the side angle of the car. And the lights like this, maybe the back tire, front tire here. Yeah, I just want to Yeah, I just want to make this area look a little bit more joined up with the rest of the scene. You know, Look, you've got, bikes parked here, for example, I'm not I don't think I'm gonna bother with all the details with these bikes. There's so much going on here, maybe some wheels and make it look like there's yeah, some bikes parked there or something, but other than that, I'm not fussed about this area. This can cause some little shadows as well. Cute. This gonna be sort of looking like bricks running through that sort of spot here. In the background, we've got a lot of detail, and I'm just going to pick out some bits and pieces like a building back there. There looks to be a tower, which I will emphasize even more. Make it stick out a bit more obviously like that in the distance there, but really it's just all going to be dark darkness below. Maybe put another car here on the edge of the scene too. All right. Again, another opportunity to get in some type of shadow. I reckon why not put another one in here. Changing the direction of the windscreen a bit so that it just looks more like it's moving towards the right. This can then be a bit of a shadow running to the left. The scene I always like to put some figures closer to the front, so there's maybe a person just walking in. This is going to also be a great opportunity to, you know, get a shadow in to the left. Like that. I could have another person up here perhaps. So we'll just walking further up. We do have a bunch of people here. I think it would be good to get in to imply more movement, bring some life into the scene. Like here, for example, this is going to be a bit of, you know, light running across the ground for this figure. This figure is just maybe waiting for the cars to pass. Okay. Put one here maybe. A lot of this stuff, I just kind of make up as I go at times because you can't, 100% get it right. And a lot of this isn't even in the scene when you're drawing it in the first place. So yeah, there we go. That's maybe another figure there, just perhaps walking or, you know, intending to walk to the right hand side of the scene. Okay. Looking good. Let's figure this building out in touch. It's like, something that runs like this. Then you've got this kind of other building here. This is good because it kind of looks like a triangular, like, shape there, and then it pops down, creating a bit of interest in this area, like a bit more of a you know, so it's not just all the same sort of buildings and shapes. So here, I'm going to just put in some more of these details indicating windows, you know, here, especially here in the foreground, kind of got to put in a few more details, but I don't want there to be so much in here that it just detracts from the rest of the scene. So I'm going to just, um, try this sort of effect. And these windows are like, you can just barely see them anyway. Some of them are open. We'll have a play around later and see how that works. Other than that, I'm just looking around to see if there's anything else I want to draw in. I'm quite happy with the level of detail in it so far. So outline that roof. Structure a bit. Then I think we're ready to get started with drawing, the painting. Let's get started with the painting. 65. Stockholm Street Painting: Bit of this brownish value burnt sienna with some quinacridone gold. And I'm going to drop that straight into this building. That's good. Just making sure that it's light enough, as well. And to make that occur, just make sure you pick up about 5% of paint, the rest of it being water. So less paint and more water. Okay. And this is really going to dilute it down and make this area appear certainly more light lighter. So let's get that in there. Some of these windows as well, you can kind of cut around them if you don't want to, if it bugs you to have The same color running through. Okay. Just to simplify this. Notice, I'm leaving a bit of white in areas as well. That's okay. Okay. But I'm just keeping it very light, very warm and light. And I don't want to let any of that stuff dry off at the base as well. Just want to make the whole building look like it was painted in the same sort of wash, okay? Bring that down. Okay, good. Maybe I'll leave a bit of white on the edge of that building. Okay, the rooftop is I'm going to actually make it maybe a little more bluish or some brown and blue, but I'm keeping it still a little bit more cooler. Let's drop in some of this color. It needs to be darker than the actual other part of this building, the bottom part. So yeah, just drop that in. Let it mix and that's all should be good. Use the same color here. It's just a grayish value. That's all I need. Afterwards, afterwards, I'm going to put some line work in there as well, but don't worry about it for now, okay? I just want to darken some of these little shadows there to the left of the scene. Not a big deal, but just drop in a bit of darker value. On the right hand side, I'm going to just pick up some maybe some greenish value and drop it in here for this tree. It's a very subdued down green. I don't want too much going on in there. Oops, gone into the cars. No problem. And more of this green and maybe mix in some brown as well to just wash it and make it a little less vibrant. Okay. And I should have gone through these ones and added in some of that yellow before, but I can do it here now, just a bit of yellow for these buildings here in the background. Okay. Dab that off a touch like that just to make that yellow. Show through better. Remember, for this stage of the painting, we are only trying to get in very light colors. Okay. Moving over to this left hand side of the scene, we've got lots of yellows running through. So I'm picking up I'm going to pick up some of this yellow and dull it down with some titanium white. Alright. So look at that. Just a quick wash of that running through there. Maybe some brown. This is some burnt sienna for this same building here to the left. Right. Apart from that, the tori, the buildings here are quite similar, the same color. So as long as I've got a bit of that golden color running through it, just a bit of that yellow, crenacroon yellow or Indian yellow. That's also pretty good. Just coming down like that. And let's go around here. So more titanium white in there. Titanium white is just a great kind of color that can dull down other colors, make them a bit more creamy looking so it doesn't look all just white, stark and, um, or too gaudy as well, because I want this to look nice and consistent, okay, for the colors to the right as well. Now, for the base of the sin, I will pick up some gray. So it's just a bit of neutral tint or pains gray, dropping in bit of white, a bit of that color there. And I'm going to carry this all the way down, around the cars if you see here, just around these cars, and some of it, you know, might blend upwards, doesn't matter. Cutting around the people as well. Okay. Like that. Just want to really light warm gray value. We can kind of mix it on hopefully to the wash above. Like that. Cover the entire bottom part of the scene and cut around the cars and the figures, as you can see, so that it doesn't just blend into the same gray color. And maybe I will actually darken a bit in some parts. Yeah. Maybe there Great. Looks decent. I will work a bit also on the top of the scene now. We just want to make sure that we've got a nice fresh bluish value at the top. So here is some cerulean blue. Favorite sky color. Let's drop that in. I'm going to use about a 10% mix of this stuff. Might actually start around here first. Let's get the top part out the way. And I want to just make sure I've got a nice and even wash running through here. I'm holding the paper in this manner so that the paint runs down the page. I can probably do this part a bit quicker. If it runs into the buildings, it's not a huge deal as long as it doesn't run through the entire yellow part of the building. Okay. It's just, as you can see, I'm just sort of cutting around. It's not a huge deal if it mixes. But, yeah, I do want to make sure I am leaving enough of the previous wash in there. Yeah, let's bring this down. Some more cerulean on the right hand side as well here, perhaps. Let's just cut around that dome, part of the building. Okay? Yep, this all kind of goes down into the to this area here. Fantastic right hand side, do the same thing. Okay. H. What we want to start doing is getting in, like, all the darker values here. And I've luckily got myself a bit of gray left over here on the left side of the scene, so I'm going to pick this up. I've put in a bit of ultramarne blue, but I do have Paine's gray. Now I'm just mixing all this up here on the side to create a nice, juicy kind of shadow shape. And, yeah, I think one of the things I will have to do first is maybe spray this down because I want to get in a softer shadow on the building. So just give it a little quick, little spray like that. And then what I'll do is pick up this color and drop that in. Okay, let's see how that works. Not bad. It's almost like a very quick way of getting in a shadow like that, bring that across the entire building here. Okay. Just a softer sort of shadow. Having this blended in with a very sharp edges, some sharper shadows, I think it's going to look more interesting. I do think the rooftop could do with a little bit of darkening as well, just a little bit extra in the roof. So I will rejig this a touch. This just a little bit extra darkness up there. It doesn't quite look right, so that looks better. Alright, now some darker paint. Let's just go ahead and do this. Um. So I reckon I can go up here. Let's pick up a smaller round brush, actually, a little round brush with some of this grayish paint. Yep. There we go. Bit of this sort of shadow running across the left hand side of the window. You see, just like that tiny bit of gray or that darker section there. Okay. If it runs up, it's not a big deal. But I do want these to still look like windows. So just kind of make sure you put in enough strength in there. There's a bit of this shadow, again, running across the left side here for this part of the building, part of the structure. Look, it just looks like this. I will bring this down here. You can see it's just blending. It's just blending into the bottom of the scene, like that. Let's not touch that area too much. Okay, this part's still kind of wet, which I don't like. I'll just dry it off a little. Can't work into that area just yet. But I can work into this part. So just darker value. It's almost just pure black, but I'm using some dark kind of pains gray here. And this is kind of my opportunity to put in the details of this building a little bit to cut around it. You can still get some squash later on to figure this out. But this sort of stuff here where you can just drag the branch across indicates some of this little detailing. This should be a kind of triangular shaped thing over here and some bit sticking out like that. Yep. The windows, you know, look just drop in a couple of little indications like that. I'm not fussed on detailing everything. But having enough in there is going to be good. And if it goes in while the paint is wet, I'm also not too fuss. Um, Yep. You can drop in some of this stuff here, too, to just, you know, detail the windows, while the paper is still starting to dry off. You've got a good in here to detail this doorway needs to be dark, and of course, these are the windows here at the base. They look a bit too much. I mean, yeah, mix those around a bit. The ones on top have turned out right. These ones here could do with a bit of something as well, the edges of them. And, of course, the actual structure of the building, you've got some details, like, for example, this structure here kind of running up, okay? And underneath the rooftop, you might have a bit Well, you've got two spots really. You know what I've not done. This area should actually be the same color as the top, this whole area. So I'm gonna re just darken this again and mix this color across so that we've got uniformity. Okay, good. That was what was looking a bit funny before I had not realized. Okay. That's better. So this should sort of just mix together. That line maybe disappear in there. Okay, good. Well, let that dry off, it should be a little bit lighter once it's done. But yeah, this whole section here, it's kind of got some of these details running down. Across the scene as well, across the building, you've got, like, these little lines separating out the little flaws like that. You're really just putting in these mid values. So they're not yeah, they're not a huge amount of detail, but maybe behind here, you've got some darker areas. Okay. But basically, I try to do as much as I can, in terms of the real dark values. If I can get a lot of those very dark values in at the same time and blend them together with the mid values, I just find that it looks a lot better, more convincing. You know, there's also stuff here. Look, there's, like, windows or something running below here, so that's one I'm gonna put in at the base of this building. Alright. The building there in the back looks okay. Some detail. Separating it out this building again, a touch. 66. Stockholm Street Finishing: Okay, you've got this part of this side of the building that's kind of got some darkness in there. So I'm going to pick up that same Panes gray, darken this little bit in the corner like that. The edges of the building. See here, there's some little details that we can put in as well. Not exactly sure what they are, but that's gonna definitely help. Good. So it's just a, a lot of this stuff to the left is you go to think of it as kind of quick marks and sporadic kind of details. Now, I want to get this shadow it's really large sort of shadow running across the bottom of the page. I'm going to pick up a larger round brush, and let's kind of imply that shadow. I'm mixing up some Pains gray with ultramarine blue. To make a really sort of bluish sort of shadow. But also, I like to pick up some brown and chuck that in the corner of my palette just in case I want to dull down that shadow a bit. Alright, so let's let's try doing this. So we want to get in maybe a bit of the light at the base of that building, but also see if there's ways that I can blend here. So sample this here, just leaving a bit of light slither of light running towards the back there. Okay? Kind of this is going to make it look like those cars are in shadow, not in shadow, but they're in the light. Okay? So same value I'm using here, it's about maybe 20% paint cutting across this car. Now the left side of the cars going to have a shadow on it, as you can see, the right side is not. Okay. Let's see how I can do this. Okay? The shadow maybe coming in here. Also hitting the left side of this car underneath, running across I kind of overshot with this shadow here to the right a little bit on the car, but it doesn't matter. Continue on. Now, it's hitting the building like about here. Isn't it roughly about here. Coming down, you know, whatever it is, it's just a shadow off in the distance. I'm going to make it look like it's perhaps not touch the top of this shade. Okay. Running through the scene, where is it going? Where is it coming in right about here? And I have to recheck this again to see whether this is making sense or not, as well, Kate. Might get in some other shadow, larger shadow running in from the left to the left like this. Okay? Something else, for example, and join that on with this figure bit of shadow to the left here pathway. Okay. Yeah, so it's kind of looking like the shadows, as you can see, it's coming in from the edge of the scene. Rking its way up into the building over here. Darken this one down a little as well. There's also a shadow behind here. In this building, it's pretty dark. Let's just connect this all up. This find a way to always connect that shadow shape throughout the entire scene. These buildings here should be pretty dark as well. So just drop in more of that dark value I just want to make sure I got more of this a sharper line where the shadow actually runs. That's better. Just a sharper kind of line. Kind of deciding whether that's enough or not. Let's put in some of the shadow for this plant and this person here to the left, bit of, you know, something just going into the left of the scene for that figure. And the path as well, I can just join that on. You've got the path coming around here, maybe, and again, just blending onto the road. You're doing all this like at the same time. Really? All the shadows. I mean, even here on this bottom side of the car, forgotten to get a bit of a shadow in for this one, but that should also form same kind of shadow shape to the left of the car like this as well, join this all up nicely. Okay. Just trying to get in some more concentration for the legs of this figure. All the figures really, you know, walking through here because it's, uh, tricky to join them up. Ops, ants looks a bit big, so I'm just trying to reduce down, there's I think a person walking here as well. Yep, there is. There there's someone here that's just drawing this same shadow up. There could be someone here. Actually, there was a lot of bikes and things in this section, but I'm glad I didn't bother with them yet because I'm happy with how it looks for the time being. It's a person walking across the road. I just want to yep bring out the shoulder and the head of this person a bit more. Okay. Okay, touch of blue maybe for the windscreen of some of these cards like that one there on the right hand side, I just want to yeah, just add in a bit of a lighter wash of color can bring it down a bit there to just get rid of the white of the paper. You don't have to do this for everything, just for some of them like that. Smooth them down a little bit. You know, there's also things like figures. So this figure, I'll put in a bit of really vibrant blue here. And you can see the figure starts to pop out. More. Okay. That's just one figure. This one here might have, like, a business shirt on or something and have a jacket, so I can go around here, put on this kind of area here kind of with a jacket L that. Maybe it's got a white shirt on. Okay? Maybe a suitcase carrying around a suitcase down there. Finding ways to tell a bit of a story. These figures disappeared off a little bit. Doesn't matter. The wheels of the car can leave that one white there in the background. These legs of these other figures in the distance, I can just sort of drop in a bit of color as well. Okay, I'm going to put in some details for the windows, just some little fine details. I've got a flat brush as well. And the flat brush, I think, is just going to help me to do this faster just to get in some shapes of windows, like running through the left side of the scene without much yeah, not too much work. That's a bit of blue. Now I'm going to go through with might actually use No, I think I'll use the same round brush, a smaller round brush, pick up a bit of that gray, and, yeah, just kind of touch and go in areas, I suppose, where you've here, there's a separation between the buildings. So I'm going to just quickly imply that separation. You know, this building also has a separation. Let's bring this down like that. And you can see behind all these shadows as well. There are these little windows details. So, you know, you just get a chance here to put them in. Okay, that a bit of separation there, as well. If it starts looking too stuck on, that's when I sort of get the finger and start to rub out areas, because there's a danger here of making it look way too complicated, and the rest of the scene then looking out of place. Let's put in some of this stuff here. So this can be the rooftop of this car. Cutting around it a bit more detail underneath the little head lamps like that, little headlamps there. Okay, good. A lot of this stuff, you're really just implying some detail. You're not worrying about exactly getting it to read exactly like a car, just enough so that it looks like one and then to move on, essentially. You know, back here as well, I do need to darken off this area. It's kind of more grayish green, like, a really darker sort of green. It needs to be just more detailed. Yep. That actually comes in a bit like this. The I'll leave out some of the previous wash so that it shows through in parts. Wing some little details running through the back. Well, yeah, so we still got some green, but at the same time, this darker value that runs through permeates the scene connecting. See, this whole dark sort of value that connects up the left and right hand side of the scene. There's a car here. I forgot to indicate that a bit better, but that's going to have to do. This road also has a bit of a shadow the actual part of the road. I'll get that in like this. There's also some kind of vertical well not vertical, but these sort of lines that run through for a bits and pieces. You know, that could be a pole or something that's outside of the scene, something like that. In fact, what I'll actually do is maybe just darken down the left side of this building a little bit. That's gonna look better. It's gonna look a little better. Okay. Darker paint. Finishing touches, yeah, finding some parts of the scene that you might want to re emphasize, add details on. You could be windows or something that you just want to add extra details. You can do this. Yep. So like, poles, traffic poles and things as well. Some of this I'm just making up. It's a little lamp indication of a lamp here. Darker windows and bits I think would be good break up that area a little more this shade. It cast a bit more of a shadow. Yep. It's really just it's really just indicating the last finishing touches. You're going to reshaping this car 'cause it just doesn't look quite right, but that will have to do. Quick dry. Okay, final finishing touches here. I want to put in some details with some white paint. And I already have some here. It's kind of a bit of titanium white. Squeeze some out, get some fresh stuff. And what I want to do is put in just little highlights. And we can do this in various different ways. But I think the way first thing I want to do is just get some really white as white as I can sort of paint to put in some bright highlights. Okay. There really bright, sort of white highlights. And we can do this, on the head of this figure, the shoulders, kind of on some of these figures that we've put in, not just that, but the cars as well. So bit of something there. You know, where you might have lost some light, this is a great opportunity to sort of play around with it. I want to go into there too much, but just, you know, if you can spot areas like that figure there, there's some should be highlight there. There, you know, maybe there's a person or a couple of people here in the darkness. Who knows? There's someone here. You know, there's a figure here, head and the shoulder, sort of tap onto the head and the shoulder. Yep, these cars. We can bring some of that out. This flower pot doesn't really look much like a flower pot, does it? I'm just going to mix up a bit of white with green and drop that in there. To create a bit of something, Kate. Rooftop of this car needs a tiny bit more detailing and like that, bring it out more. Yep. It's tricky, given that I didn't have really a reference for these cars as well. You can get sort of these little parts of the building, so you see here just sort of little bits of light that might sort of hang on to the side of the buildings. Um, What else do we have? Um All right. Maybe that car here and the distance. You know, sometimes you just get some of this some vertical line work. You know, you can see in the distance, who knows what it is. There could actually be boats in the background, actually. So little things like that just breaking up all that gigantic amount of darkness. You can also do it here, sort of in parts of the darkness, as well. Yeah, creating a little opposition now, I'm going to mix this up with some yellow, a little bit of white and the yellow, and maybe some of this burnt sienna as well to see if I can bring back maybe a bit of these little details coming out on the building, the edges of the building. It's not very obvious, but you can kind of work on some of this stuff once the painting has been, I guess, finished, and you've got these little tiny little touches left, okay? Yeah. Trying not to overdo it as well, 'cause it's easy to do that. Great, and I think we are finished. 67. Reykjavik Drawing: Okay, let's go ahead and get started on the drawing. And I've always wanted to do one of these scenes of Iceland with the kind of silhouette of the city buildings. So yeah, this is just across from a lake, okay? A little pond or a lake and quite a popular sort of area as well. Where people kind of hang out around the edge, feed the ducks, as you can see, sort of in the middle section here. So, look, what I'm going to do, as you can see, I've just drawn a line roughly where the buildings hit the water. And I think the most important things to put in are the front buildings. So I always like to put the front buildings in first, then sort of work the back buildings in as we go. So firstly, I want to just mark the center of the page, roughly about here, and we need to make sure that we've got enough room for this church here to the right, which I'll just sort of pencil in quickly. Okay. Maybe it needs to be a bit taller like that, just a little penciling in work. And then on the right hand side, you've basically got this uh I'm not it remember what it is. I think this is it might be a museum. It might actually be a museum, but it goes all the way out the page, and you've got these interesting sort of arch triple, what do you call them semicircles running along. There, all I'm doing is just looking for basic shapes to draw in. Here's the roof there like that. Kind of goes down actually down near the back, and this bit, I guess, connects up a little bit. Over there. Okay. Now, the church church is just over this side. I've done a little bit of sketching to sort of get some detail in. But that needs to be the side, maybe the side of the church here. Okay. And then you've got the main kind of tower that runs up like a rectangular sort of shape like this. And then maybe another square shape, which I'll put on more details, and then you've got the pointed bit right here. Okay. Now, the rest of this I can just slowly put in triangular kind of part here, here, here. Okay. Separate this out like that. And then you're gonna get a bit of darkness on this side there. Okay. And a few more kind of lines running up like that. Now, the important thing here is to not stress too much about all the tiny little details. We're just looking at them and simplifying them down to kind of shapes, okay? This is another shape. I don't know what it is, but it's just part of this center part there. I think the church is probably the most important part to get in, right, given that it's such a obvious feature of this scene. This area here kind of needs to be put in somewhat accurately, and then kind of down like this. This and you've got a doorway here. Okay, then you got a couple of little bits here on the side like that. Pretty much the rest of the background of the church, all this area is just dark, so I don't need to really put in much else. Yep. Bring this down further. I think the top bits just the most important part. Okay. And here I'm going to put in the side of this kind of funny looking building behind there, put that in. You know, there's a bit of darkness in here, sort of these units that people live in. And in the background here is this famous cathedral and believe this was once built by the Norwegians, like a Lutheran cathedral, really quite an amazing thing to see in person. And very difficult to draw as well. So we can just kind of get in an indication of it, but I'm not going to try to, yeah, just, like, detail it too much. Okay. Just to show that it's there in the background. You know, you have a bit of darkness to the left hand side. A bunch of windows to the right, a bit of darkness there, and then you've got the rooftop of it here as well. I just goes down in there, another sort of dome or something there in the background, another house to the right. A lot of this stuff, when you start drawing it in, you realize it's all just they're all just boxes. That's all you need to kind of simplify these things down to at the end of the day. Okay? As long as you've got these sort of indications of what might look to be rooftops, boxy sort of shapes, you know, it's it's going to be fine. This is all going to be kind of in some darkness there. Let's have a look more kind of houses or something here, like a boxy sort of shape with a shadow cast all on it by the church there to the right. We're gonna get in a building here in the back, yep. Sort of bit of shadow to the left side of the building here. This runs behind and forms, again, more darkness and shadow behind there. Let's get in this sort of quick sketch of this house. Like that. Some little windows. Like that. Okay. Another one behind here. It's a bit of the edge of the building behind there as well, kind of preserving a lot of these whites too. Great. Sort of like side part there. Now, these little buildings also have some windows on them. Okay? There's a lot of stuff back here. I'm going to just try to simplify down. There's also this kind of dome here of some sort in the distance there. Try to get it in. It sort of looks like a garlic bulb, shape of a garlic bulb in there. What's Look what else we got. You know, there's a large shrub there tree. There's a fence here. I don't know what this is. It could be a school or something to the right, so just put this in there. Rooftop of some kind of building. Pretty much the rest of this again, you're just picking out some little shapes, simplifying these rooftops. Yeah, a lot of them just kind of overlap. So you just drawing around, trying to create a bit of interest, seeing where some shapes overlap with each other. You know, there's some type of another rooftop here that has shadow running to the left here. In a window like that. And all the way in the back, you've got a few more kind of smaller houses. I mean, they just all sort of overlap with each other. Really, it gets difficult to tell where they are, where one starts and one ends. But these little rooftops are good, like that. Indicates some little houses there in the distance, can even kind of make some up over that side. I might actually just get rid of those because it looks a bit too high now, those buildings to the left. I want them to look, yeah, a little bit shorter. Okay, let's have a look how these buildings are going. That's right. That's going okay. Might cut around some of this stuff to create some, like, chimneys of some sort, as well. Kate? Okay. And there's some type of you see this bit of area here where the birds are congregating around. It'll be interesting to maybe get in a few birds flying through this scene to later on down the track. But I think this is a good sort of start in terms of the sketch. We can get started on the first wash. 68. Reykjavik Painting: Okay. So first things first, I'm going to put in a little bit of color all these buildings. And I might actually get in a tiny bit of green up the top for this. Let's make it more vibrant. A little bit of green, very light green. And I'm using the tip of the brush to do this to just make sure I don't go too far outside the edges, but it's not a deal breaker if you do. The rest of it, I'm just going to leave pretty much white. Okay, I really want to bring out the light in this scene, especially on some of these other areas. But you can also just, for example, mix in a little bit of this kind of milky wash so it's not completely white in all areas. In fact, this building is not 100% white as well. It's got some cooler color on it. Might mix a little bit of this. Let's just see how this looks. Yeah, that looks alright. We can get away with that. Just a little bit of coolness in there would be good. Like a cooler white value. Yeah, you can barely see anything in there anyway. Bit of Okay. Let's have a look what else we got in the background. It's kind of like a lot of grayish colors if you look around at the back area. I'm gonna pick up some Payne's gray. Doll that down maybe with some brown to make it more of a neutral looking gray. And this building definitely does need to be just dull down a bit. So that's just the gray. Now, we'll make the other side darker once we get the shadows in a bit later. Okay. But this is going to be a good start. Okay, just going around. You know, you see the rooftops, as well. There's little bits of gray. On the rooftops here, you know, there's something here. A lot of this, you're kind of making up, but you're also looking at the reference photo to just find where the light and the dark values are. Okay. But for the most part, we're just putting in all the real light sort of values. So here, I'm going to go in with a bit of gray and a tiny bit of brown as well for that building here in the back. Okay? A bit of something on the rooftop. This building, I think, a bit of gray there in the background would be good. Bring it out, bring out the church, help to bring out the church. Don't worry about trying to replicate the reference picture exactly as well. So experiment with some different colours, see what you think might work, what might not. So I'm using a lot of grays in here. Might put in, like, a touch of purple just to cool down the rooftop of this one a bit. So you haven't really followed the exact color palette that the reference has, but it doesn't matter. We can make do, right. There we are. The bottom of this house, maybe I'll put in a little bit of brownie sort of color. Like that just a warmer color there. Great. This building here to the left a touch maybe a very light touch of gray for it like that. The wall needs some brown here, a little bit of brown. Just drop that in. Rooftop, let's put in some more darker gray up there, maybe more bluish gray like that. Um, there is a tree here in the center bit of green. Just blend that in to everything. With these washes, you're just trying to get in a very brief indication of what's there, and you're not trying to detail much at all, putting in colors. Okay, I might leave this side of this building sort of white and then go around the back ends and get some of these rooftops in with some gray. Maybe this one here, a bit of gray and there. Okay? Like this kind of helps to bring the buildings out of the distance in the distance there. Bring this down and find ways to melt, blend it all in. Okay. There's a kind of white building there. I don't want to kind of touch, but there is a bit of darkness and gray in here, as well. So I'm just gonna pop that in like that. So the buildings are looking decent. And what I want to do now is go into the sky. Just lift off some of this stuff first because there's too much in there, too much paint in there, so just worry that it will run into the sky. But, yeah, I'm going to pick up some cerulean blue, maybe some ultramarine blue, as well. And now we're going to go into the sky and put in some really nice blue up the top. And might actually add a touch of this gray as well at the same time, up the top, make it a bit more interesting and darker. As I move down the page, I will sort of, uh reduce the concentration of paint. You got to do this quite quickly with, you got to do this quite quickly so that it doesn't pull and make any funny sort of effects. Yeah, it's kind of purplish, kind of bluish. Not too fast. I just want to also leave out see some of these sort of white chimneys and things just cut around cut around some of this stuff. Don't feel like you have to get it all in exactly. Cutting around this is going to be a bit tricky, this um top part of the church, but we can do that. Let's go to the left hand side. Okay. A little bit tricky, but not a big deal because the left side is gonna be dark anyway later. Okay, let's have a look here, cut around that. There we have it. Fantastic. So that's the sky wash done. I don't want to kind of meddle around with this too much now. Sometimes you might get little bits of, you might just want to clean up little bits here and there, but otherwise, I reckon it's best to just leave it. Now, in the ground, this is where I'm going to just pick up a bit of green because we've got some of this see here, just a bit of green near the edge of the water. And this is where you've got kind of some birds and stuff congregating down the left side here. So this is actually going to be I don't know, some shrubs, that sort of stuff. It doesn't need to be a little darker. Let's just add in a bit more green, okay. Further down the page, I'm going to put in some water that's hopefully going to mirror the sky or actually kind of be darker than the sky by a touch. So a bit of cerulean plus ultramarine blue. Let's have a look. Um, now, some of this green is gonna have to mix downwards. There's no way out of it. Not fast. Just let it do its thing. Some more ultramarine. And it should be kind of, like, darker down the front than it is at the back. Pick up some pains gray again and some of this leftover. Got a bit of leftover purple as well from a previous painting. So I can just put that straight into the bottom there and also feather a bit further upwards as well, like that. There we are. That looks decent just to kind of give this impression of, um, of depth in the front of the scene. You may not want things that purple, it's up to you. Alright, so we've got that first washing now. Let's give it a dry, and we will come back with the second wash. Alright, so let's move on to the next stage of the painting, and we're going to put in all of the dark values now. So before that, I'm going to mix myself up a bit of neutral tint. It's really just a grayish value. And we can also mix in some brown in there to kind of turn it more Uh, yeah, more neutral, I suppose. Now, let's have a look. I'm going to start right up the top here and work our way down this structure, this cathedral, when you've got really some darkness to the left. Okay. And then it just goes down like this. Lost like a direct sort of left hand side. Basically, you've got the light source coming from the right. Okay? I'm trying to imitate that sort of those sort of steppy things going up the side of the building like that. It's kind of tricky to do, but can sort of imply that. There's also these three on the right hand side, these three little windows, one, two, three, tiny little brush. Really. This is just a little round brush. And yeah, just allows me to go through, do this really in one swoop. That sort of goes down. Yeah, there's some kind of also some part of the building here or some building in the back there that's darker. I'll get something like that joining on. Plus, you've got the rooftop here, so that needs to be darkened, as well. Just using this same gray value that I've mixed up to keep it consistent running down like this, there we go. That kind of cuts around the other stuff as well. Okay. Now, this building's got a bit of shadow there to the left. This one in the front. I'm just going to cut around and do some bits and pieces, little tiny, little detailing, things like that. I mean, it's really just a building there in the back, you know, like a place where people it's like an apartment block or something. So let's get that sort of area there. That's got to be a little darker. Not too dark, though, so yep. Now, this rooftop here in the front, let's go ahead and mix up some color. You know, I do want. This is going to be interesting. Maybe I could just get in the shadow running to the left. I'd be tricky just this shadow area there for the you can see these little bits of detail on top of the building like that. You know, it's not really like this. The light isn't that strong on there. But, you know, it's one of those things you can do and just see if it works. I might have to go back into it afterwards, but let's just give it a try. Now, on the left hand side, you're going to get a lot of darkness here. So I'm going to just put in more more kind of shadowy color. I'm going to mix some brown sort of color in there as well. Okay, that goes all the way down to the bottom area there. Great. You might have this door that's put in this door or an indication of a door here. There's even some shadows on the side of the building there I can just quickly imply really around the whole thing. You can put in more details like that, and even some verticals like this. Do indicate the the little roof area like that. Something out the back there as well. Okay, Kate. Just trying to brighten this whole area up more, I suppose. Mm. Might have to, you know, darken some of that afterwards, but that's no big deal, okay? Me little detailing work here with the round brush, with those windows, you know, maybe some downward brush strokes like this as well, you know, just kind of Alright. Great. In front of the building, you see there's all these, like, little, you know, bits of green, that sort of stuff. Now, let's go to this building, and I want to make sure that I've got some kind of cooler color on the left side of it to really bring out the really bring out that shadow. So here on that part of the church, let's have a look down this back area here. Yep, fantastic. Um, these little shadows on the left side of these windows that are in the background like that. And a bit of a rooftop here going behind this building. Okay? You know, you've also got these little, you know, windows that you can just drop on like this pretty easily. Um, let's have a look at this church again. I'm gonna just put in some of the detailing of it. Let's get the rooftop, some of this stuff needs to be darkened off here, eh, like that. What else do we have some parts here? Well, Okay. He's building here in the back. I'm going to darken this one down a touch. And let's put in, also some shadow running across the side of it here, kind of indicating that the church is casting a bit of a shadow over the left hand side of the scene like that. There we are. Just try to blend. Try to blend things together. Side of this building is darker, so I'm going to add some more darkness. Rooftop. I mean, it's all just really dark in this whole section. I can put in some Pines gray in here and even use this as a way to cut around this building there in the front. Maybe I want to make that roof that roof a little bit lighter for whatever reason. I can do that. There you go. Maybe it's casting a shadow to the left town side. You've got these windows down the side there, bit of detail underneath the top of the building, bit of darkness to the left here as well. Just tons of tiny little bits of line work and things running across. We still have a chance to do this later, mind. You don't feel like this is the only time that you're going to be able to do it. I just think it's good to be able to yeah, I just think it's good to be able to do this all in one go if possible. Okay. Don't be afraid to use those darks. Okay. It's really dark in here. I need to add some more paint. It's not dark enough. Shadow. I mean, even here on the side of the church, I could go a bit more really it's going to be darkness, the left side of these buildings. So more gray and more blue, like that. And you kind of just again picking out some other buildings that might be darker and just leaving other parts out. That's gonna help. The green here for this darker part of the building Area of the building there, good, some more neutral tint or pins gray again for this area where there's a little shadow forming from the rooftop, casting a shadow to the left there. That might have darkness underneath, actually here, so I'm going to get that in. Let's have a look. What else can we do? Maybe some more darkness around these rooftops to bring out the light there. 69. Reykjavik Finishing: Okay. I'm going to leave this rooftop lighter, so it's going to appear more contrasted and some more windows. A lot of these windows, actually, I can get in afterwards with a little rigor brush. So I'm not too fast with that. I'm just sort of seeing other areas that I need to adjust, like for example, here, this cathedral here in the background. It's just not dark enough, needs to be darker to the left hand side of it like that. Just to match with the other left side because I've gone a bit too light in some of these areas. Okay. That's looking good so far. Let's put in some more green kind of mix in here. Just kind of going upwards and blending. For example, here, this area, I need to do something here. Um, Pick up the rigor brush, the rigor brush for a bit and just start flicking some paint around to get some interesting, more interesting looking bits and pieces. Yep. So this whole area is going to basically be, you know, where the birds are hanging out. So I'll put some lighter colors in afterwards. But for the time being, you know, what I'm trying to do is just create more contrast, you know, especially with this house here, you know, make sure that it really stands out. Um, yeah, just make sure it really stands out. You know, that house is actually white behind it, so that house there is white, so that's why I'm leaving a little bit of white back there. But maybe I could get in a bit of indication of the side of that house a bit of a shadow running to the left like that. That's why not? Let's just do that. A more green bit of green mix and trying to blend some of this on with the buildings as well, okay? To really make that white pop out. I'll have to get some little reflections running downwards as well. Sort of white reflections Mm. Okay. Top of this tower, I'm just going to need to just detail a little bit for the you go or the shadow. And there's actually, you know, you can see the crucifix up there. I'm just gonna make it really light so that you can just make it out. I find that sometimes when you make it too obvious, it just then takes up too much room in the scene tension, too much attention, which you don't want. So yeah, this is just a little rigor brush that I'm going in closer with some gray paint, really neutral tint, gray, and for that reason, just to get in, yeah, basically some these tiny little details that are so hard to get in, actually, without a brush that's smaller like this. Um, let's have a look, you know, little windows. I could just simplify this, of course, like that. No one's gonna notice here there's another parts of the window. They kind of like this shape, anyway, this sort of um, There we go. That part there, that's got to be painted in a bit better. A look here, here. The rigor is great for details and bringing out small bits and pieces. Okay. Windows. What else? You know, doors and things. Can I put in a few more details? This one here look just see drawing in a few bits and pieces here and there. So more windows here.'s back there, outline some details again. Windows again on these buildings here. That probably needs to be darker, this left side of the building. The Good. That looks nicer. Sometimes you do have to go over older parts in there. There is even like I didn't point this in before, but there is another window or something here up the top, and that's casting a shadow to the left. So I can just, like, imply something like this, while I'm here, if you've missed out on things, it's always a good opportunity to just add it in, you know, the second wash. It's not game over yet. So kind of confusing these buildings kind of blend together, don't they? Um I'm thinking also to change this up a little bit. I'm going to put in behind the church just a bit of cooler value for here this building so that maybe the church will come out more, just look a bit more. Yeah, that looks better. Yep. Pops out a bit more like that. Maybe some chimneys and things. Just on the rooftops, you can see, like, you can put in a few bits and pieces. Um, like that. There's also trees. You know, I can pick up a bit of, you know, bit of green and drop that sort of stuff in here at the back and imply that there are some trees in the back, okay? They're not actually that big. But you can kind of imply a bit of extra stuff there in the background by doing that. Just might sort of help bring out those buildings as well in areas. Even here, you know, this is I think it's going to help a bit carry that along. Even on the right side of that. Yeah, there we go. Of the church. Just a technique. Um, might have overdone it, but that's gonna be right. I missed out a bit of detail at the bond with the church, but it's not a huge deal. It's not a deal breaker. Okay, so some finishing touches. I'm going to pick up some white gouache or some titanium white, like I got here and I'll squeeze them out. And this is for the final finishing touches, little bits of white highlights that you might want to kind of add on here or there. So let's pick up small small round brush or a small rigor for this. Okay, a bit of water to activate the white paint, and going to go straight in. One of the things I want to put in is, like, some of these birds, maybe I can just test this quickly on an area and more inconspicuous area because it's going to look too much. I suddenly just sort of drop it in there, it could be a chimney here, maybe, you know, like a vertical, some sort of vertical there. Let me just wipe this off a bit. So I get more of a tip. Maybe there's a bird there in the foreground like this, another one there. You know, these birds sort of coming into the front of the scene, you're going to see a few more at the back. But of course, like this area here, I think this is going to be important to just imply a few little birds as sort of symbolized by these little white specks and what have you here in the background. This is going to help to break up all this color as well, all this darkness. You can even put a little street lamp here like that. You know, another one there coming up in the background. They're kind of going up the hill maybe. Um, another one here. There's some little details I've lost out like this area of this area could do with a bit of some little highlights and things in there just to bring out a bit of light. Still If you have lost out some light, you can bring it back again just going over the top. Trying to get the top of that building more in. Yeah, you got birds just sitting flat on the water all the way back there, you might have also some birds just flying through here. Sometimes on the rooftops here, you might have some little bit of light coming through here, here, like that. Roof areas like that. It's really the final touches of this whole scene. You don't want to certainly overdo it and make it look too over the top. But, yeah, it's an effective way to bring back some of the light and I guess create a bit of contrast back here. You might get a little bit of that light coming through in the darkness of these buildings there. Yep. Yep. Just going to put a few more birds and things out the top of the scene as well to kind of balance it out. You don't have to do all this, mind you. It's just something I feel like adding in. Last little touch is I'm going to get this flat brush. Pick up this same paint, this same white paint, okay? Really, not too much water, just enough to activate it. Okay? And what I want to do is get in a bit of a, you know, little downward reflection in the water, okay? But I'm drying off the brush first so that it hopefully doesn't look too, there you go. It doesn't look too obvious. It's it's not gonna be exactly white, but it'll be like a subdued sort of white. Oops. Let's just dry that off first a bit, yep, um, some areas you can just do this, see? You know, this church might do with a bit of that downward little reflection, maybe this house. You've got to be careful as well, 'cause you don't want to get rid of all that amazing, beautiful wash in the background. So yeah, just be, you know, use this sparingly. But yeah, it's just going to help balance it out because the top of the scene is too, you know, as you can see, you've got all these warmer values, but then it's just coolness down below, and it needs to have some sort of reflection of the buildings above, just to imply that they are there. Some of them, I want to exaggerate a bit, but other than that, that's it. We are finished. 70. Norwegian House Drawing: Okay, let's get started on the drawing for this scene. And what I want to do first is separate the scene to like the halfway mark. This is roughly where the house starts in the halfway mark of the scene. Kind of goes down a bit here. There's a little trough. And there's another house here. Let's just kind of put this in while I'm here. It's got this triangular bit like that, and you see the roof kind of go out of the scene and a bit of the underp of the building here. Just the side of the building. And this is kind of in all the shrubs here. There's also a window and a door right here, as well that we can might as well get in since we're drawing in this area anyhow, like that. Pretty basic. Yeah, bring that right hand side of it down. Kind of like that. Okay, so quite basic. Now, over here, we've got the other house, and I just want to kind of gauge roughly where it finishes. I think it ran about here because we've got, you know, we want to leave enough sky in. So let's roughly put it in here. It's in the center of the scene, the entire house. So it kind of comes down here. Got that triangular bit here on the top there with the roof. And it's actually kind of pops out a bit like this and goes up more, actually comes down like that. Yeah, oops, let's just give it a bit more like that. And it kind of goes across here. And we're going to bring it down like this. Okay. Fantasti. And let's get on the roof. So that's sort of coming across here, all the way to the right hand side, where it extends out. And I'm going to bring this down, and then you can sort of see the back end of the other side of the roof as well, kind of jutting out the back there, so that's going to make it a bit easier. There's some kind of pipe running down the side of the building here, and you've also got yourself another sort of shaded area here. You see that just a little area where the front of the building is. And this is, you know, you've got the porch. Maybe like you see a couple of those supporting beams here, white supporting beams. Inside, you've got the door and door frame. So let's just put that in, like, pretty quickly. We've also got a bit of darkness within the door there, a bit of a darker area. And let's have a look. What else do we have? I mean, that's really the basics of it. There are sort of little here, if you see on the front like this railing that runs all the way down like that, kind of disappears off a touch. But here you've got a bit of this shadow being formed, plus the shadow on the door. So it kind of replicates that other So, so something like that, there's going to be shadow on the left side, and there's gonna be shadow here. Check that in quickly to get that in. There's also a bit of shadow underneath the rooftop and maybe a bit here as well. So that's just, you know, a bit of a drawing. And here, I'm going to put in another window, which is roughly the same size as the window there on the door. So just that sort of rectangular kind of shape like that. And, of course, the shadow running to the right. So let's draw that in this. And this whole area is kind of going to be in darkness. As well, okay? There's a whole bunch of things out in the front. I mean, this could be looks like a lawnmower or something. I don't know. You could put that in there. You could include it or you could choose not to include it. There's a bicycle near indication of a bicycle just in the front of the house. There's actually like two bikes, so there could be looks like they do look like kids bikes, so maybe there's a couple of kids nearby. And on the right hand side, looks like there's some type of rock wall, rock wall, and then there's like a fence that's kind of warmer color, and then that wall kind of goes off again in the back. You've got a power power line there in the back as well that kind of just disappears off in the distance. There is also power line here connecting to that house. Looks like there's an aerial there as well. Maybe they receive a bit of TV. And here we've got some Grass, okay? Most of the stuff we don't really need to draw in. Okay. Here we've got this kind of rocky wall as well underneath. And I guess this forms a bit of a water break, as well, okay? Here, we've also got this other same sort of rocky stuff there, and then a bit of green land. This coincides with the building there to the right. Okay? All this stuff in the front, I don't need to bother. We're going to get that in the watercolors, but what we want to do is make sure we've got enough in the background. Just enough sort of wash in the background for the sky and the water. So that's going to be like the water roughly where the water is where water ends anyway in the distance. Then we're gonna put in some of these, these kind of mountains here in the background. And let's just draw them in, okay? I'm not fussed about getting these in, like, super accurately. Let's just make sure that we've got enough of an indication of them. I like to kind of go back and maybe detail some different layers, some areas that might be darker and others that are lighter, you know, another layer here in the back. Whether I actually go ahead and get these in later on is, you know, is the question I may not, but it's just something I want to put in there. Okay. It's gonna be dark there. What else do we have in the background? Maybe like another sort of section of mountain here, and this comes up, disappears off, like there to the right. Very nice. This bit kind of comes down a bit, this ridge and then a bit of darkness here. And of course here, there's a bit of shadow there. Underneath here is just water. There is some little bit of grass here, like a mound of something, so I'll draw that in. So there's gonna be a slither of water back in the distance. Other than that, other than that, I think the drawing looks pretty good. Yes colour that in at the back. So we should be good to get started now with the painting. 71. Norwegian House Painting: Right, so the first thing I want to do is just get in a bit of color for the house, and I'm going to use a light wash of yellow here. This is like a golden yellow color. It's like an Indian yellow. Okay? I'm just going to drop this in really without much mixing, if any, really. I want to make sure that this is really nice and vibrant and checking as well, just seeing if it sort of matches what the scene looks like. I think a little bit of maybe a tiny bit of orange in there would be good. Kind of like this orange. Yep, more yellow. Just thought I'd add in a tiny bit of orange there to just mellow it out a bit. Okay, let's bring this down. And we'll go across here underneath as well. Oops. Yep. Bring that across. Um, It's good at this point to try to cut around some of these white bits like this area there. Yep. I really make this nice and sharp where it ends. Okay. Underneath, we've still got that same color around the bits and pieces here. Yep. Let's have a look. Good. Not bad. A bit of burnt sienna for this part of the roof. I just want to drop in a bit of that very light wash still, but I want it to blend in. Okay. Most of it's just going to be that orangy yellow sort of color. Anyway, in terms of the in terms of the roof, I think what I will do is get in a little bit of gray. Tiny bit of gray, and mix it in with, I want it to be a kind of bluish, like a bluish gray. Payne's gray is actually going to be perfect for this because it's already has a blue bias to it. Let's drop that in and see the strength of it. I want it to be really light, so I'm mixing in more water. So it's probably about yeah, it's probably about 10% paint still, but the rest of it's water. Okay. Yeah, we still want it to be, you know, a very light wash of this color because there's actually shadow running across the rooftop, as well. So I can kind of work on this. Do I need to sort of get in the wash in the background. So, yep, let's just do this. I reckon I'll make the sky a little bit darker around this section. Okay, good. Let's bring this down. Yeah. I reckon I might leave this bit of white here on the right hand side of the, on the right hand side, there it looks nice. Looks like a little bit of highlight. Yeah. So I don't mind. I think I'm going to just gonna leave it. And but look, what else do you want to put in there? I think that's good. I think we've got a good sort of wash for the parts now. The next step is really just getting in the sky and everything else. I'm going to give it a quick dry first so that the roof doesn't move too much. Stick. So I'm going to go in now and put some color running through the background. So I'm going to pick up cerulean blue. Really nice. Um, light blue. Okay, let's pick up a ton of this paint. Drop that straight into the sky. I want to make this fairly strong as well, so that I can, especially around the rooftop, kind of cut around areas of the roof. Normally, I'd make it lighter, but I do want this house to stand out a bit more. So yeah, bit of this cutting around work. I've realized I've actually forgotten to put the chimney on, so we'll have to do that, we'll have to do that right right at the end, actually. Let's do this anyway. The Okay. Bit of cutting around so you can see around the rooftop. Again, this is kind of pretty important just to leave a touch of little bit of white on the roof. Okay, bring this all cross down. Okay, great. Now, we're going to move this wash down the page. I'm going to pick up maybe a larger round brush. The first thing I want to put in is a little bit of kind of warmer value, maybe some like brown value. This is burnt sienna. Just a touch through some of these areas, but I'm not too worried about exact color. Just a bit of yellowy brown color in areas. I I could even sort of look like green, okay? Just a touch of this running through some of these mountainous areas, like that. Kind of just dry brushing a lot of this stuff on. Some of it's going to go into the sky. Don't worry about that. Okay. This is just getting in a little bit of yeah, just a little bit of extra color back there. Now, reading up some blue. This is just a little bit of ultramarine blue. Dilute this down a fair bit. Let's drop some of this here. Now, this has to be kind of darker than the sky wash, and I'm hoping the sky wash it will just kind of bleed in as well. Um But I want it to, it has to be darker than the sky by a little bit, okay? Around here. Let's get that in. And I don't mind if I leave a bit of white in there as well, sort of skipping over, as you can see, sort of skipping over the white of the paper. You might have a bit here as well. Yep. Just hold the brush further down below if you want to get more of a Yeah, more of a controlled wash. Okay? Yeah, I want these I want these mountains to blend a bit into the background, I know, it doesn't look that way in the reference, but yeah, just to have it more kind of subdued. So there's some bit of blending back there. But it's still going to be lighter than the sky wash. Darker than the sky wash, I mean. And when you go into the water, I'm just going to pick up that same blue from the sky, and I will drop this straight in. It's just a bit of cerulean blue. And it's also a bit darker. This cerulean blue is going to be a little bit darker than the sky wash. So you can see it's kind of blending touch. Blending. It's okay. I can leave in a bit of that white as well, sort of little specks of color in the background. There we go. Let's bring that down more clean blue. Let's just dunk that in there, bring that across like that. Great. Just make sure I cut around that house nicely. Okay. And as I move down the page, I'm going to start adding in some other colors. So over here, you know, we've actually got a bit of that white, grayish color. So I've got a bit of titanium white here. You can use guash and just mix it in with some other browns and things as well. And I'm just gonna drop it in here because there is this sort of mixture of it next to the house. It's like a grayish mixture of paint, something here as well. And the rest of it, I'm just going to pop in some green, just some darker green with round brush. Let's just pop that in. It needs to be darker than the water as well. So I'm making sure I'm adding more paint, less water in this mix and letting it all blend nicely together in one Hopefully seamless wash like this. There we go. So we've got some of that. And here at the base here, you know, you've got some starts to get kind of more green. There, I've actually forgotten to put some I'm going to put a bit of this fence color. It's like a reddish brown color here, something like that. And then on the right hand side, you've got more of this kind of creamy colored sort of fence. Lie that again. Then we're going to move down the page with this same wash. This same kind of value. But one thing I've forgotten here, there's actually some blue I need to put in. I'm picking up another brush, so I just don't have to yep, that's better. Bit of that bit underneath there. Some of that kind of creamy color here as well, it's just a bit of titanium white. Okay, great. I always try to get all this stuff to blend together in one wash, if possible. It just makes life a lot easier. Okay? So this is just a bit of green, and I'm going to water it down, actually, put a little bit more water in there. Maybe I'm going to use the mop brush. There you go, a larger mop brush so I can do this. And let's just drop in this paint, and this should kind of mix around and look quite quite interesting. This is a bit of yellow. I'm just dropping in as well, a little bit of that same yellow I've used in the house, because you can see here in the front, there's actually some more yellowy sort of trees and stuff. It's put in a bit more darker green in some areas here. It's probably better to actually go in with lighter greens first. They end up, they end up actually yeah, being quite difficult to put in afterwards if you're not careful. So yeah, let's just do that. Let's just get this all in. This will kind of go over the top, some of this stuff in the background. Yep. One thing I really like about using textured paper like this, it's rough paper is that you can just skip over the parts of the paper and leave kind of white sections here and there. Um, I think in the back section, I will actually just get rid of some of this because it looks too, it's nice, but maybe a bit jarring in some areas, detracts from the rest of the scene. So something like that. And when it starts drying off as well, you can pick up more paint and kind of drag paint through so that yeah, so that there's more of a indication of, like, the edges of those mountains as well. And it will sort of stay put more at this point. Maybe a bit of brown here at the base, little bit here. Yep. More of that yellow down at the base here. Just bring that all three like that. This house here to the left, I think could do with a bit of detailing. Well, it doesn't need really much detailing in there, but I know that some, for example, brown here to the left of it, like this is just a touch of neutral not neutral tint, but burnt sienna running through there is going to help. The rest of it, you know, we've got basically we've got the rooftop. The sides of it is kind of like a dark brown value. I can't tell exactly what it is, but we're going to put in, like, a dark brown with a touch of blue in it to just dull it down more. There we go. That's the door. I'm going to do that door a bit darker, as well. There we go. Just get that rooftop in. There we go. Oops. I've gone over that window. No problem. Let's do the left side. So it's really, really thick paint. I'm using just almost pure paint here, just a little bit of water to activate it. The roof, in fact, is actually more of a grayish blue grayish value. So that's what I'm going to just drop into the top there. Yep. Yep. Let's make sure that looks okay. I don't want there to be too much detail in here, just enough to indicate, like, a house to the left hand side. Okay, all this stuff here is starting to dry and this is good. We can start adding in some darker paint. So this is just a bit of green that I've picked up, and I'm feathering through the page. And you can do this in parts to just encourage encourage it to blend and mix wet into wet. Okay? I'm going to leave some of this white here to indicate maybe some flowers as well. So we'll just put the stems in afterwards. But for the rest of it, you can even just drop in blue or purple, as well. That will work to create a touch of darkness and interest. I mean, in the reference photo, you can see there's really quite a blend of different values in here, and all you can do is just try to imply that by mixing some darker values in the scene here and there, as you can see. You know, I'm not really bussed at getting in, trying to get in every little transition, but definitely implying that there are some different values in here. A great. Great. I just want to mix that around. There was just some paint stuck up on the top, but I've kind of overdid that, so it's running. Just go to redo this section quickly. Okay. Um. A little rigor brush is great at this point, as well when things are starting to dry down at the bottom. What I can actually do before that starts happening is start working on the building. I'm gonna pick up some pains gray. Any kind of gray is gonna work fine. Let's mix up a shadow a nice shadow color. Now, let's see what we can do. Now, Okay, a bit of a rigor brush here. I'm going to pick up some white, little bit of white paint and flick some of this through to indicate some of these, like, flowers and little bits and pieces of these, you know, flowers here. And, you know, some of this stuff here already can be used to indicate them, okay? But I'm going to add in a few more here and there. Okay? Especially near the foreground. This is going to disrupt the all this darkness and make it look more interesting as well. And you can also use this to create some sharper kind of lines, that kind of thing. Uh let me squeeze out a bit more of this squash. Okay. That's a bit too much. Yep. Might be good to add in maybe some yellow to it as well to just make it look better. Yeah, that's better. Okay. So just kind of little sporadic linews running through this area. And I'm doing this so that it just helps to break up all the darkness. And this is actually going to look a lot better afterwards. Once you let it dry off a bit, you're not going to get as much contrast, especially with some of these whites in here. But, yeah, you can see there's a ton of all these, you know, there's a ton of all these shrubs and things. So this is definitely gonna help imply some of that brightness or bring some of that brightness back into areas of the scene, okay? Start mixing more white into it as well if you want to get really detailed and make it look more contrast contrasted. And then here you can really imply some of the detail on these flowers. I mean, there's already like this stuff here. We can just use those as flowers, these bits here. But here maybe just I'm going to rejig some of that area. Yep, maybe put a bit here. These little bits of white that you leave on the paper are so important for later on, like times like this, really, to add in little details. Done. Stems like kind of white stems on some of these plants. Bring those down maybe a bit here. Like they can look kind of like stems. Yep, yep. I don't want to get rid of all that previous wash as well, mind you, make sure you're kind of doing this sparingly. Another little thing you can do is use a bit of a little pocket knife like this, and you can scratch out some highlights. Just go to find some errors that are kind of starting to dry off and see you can just sort of do this stuff. So then you get some other kind of brush little interesting strokes through here that you don't normally get. Even just going up near to the house here, that could be good, you know, maybe a few more here. It just helps to imply a bit of dimensionality into this scene. Let's put a bit to the left. You have to wait until the paper is almost dry, so you just got a little bit of, you know, a little bit of dampness in the paper before this works. If it's too dry, also it doesn't work, so you have to be careful with it. Um, yep. Trying to make this maybe this part here maybe look like a path a little path into the scene, this area here in the center. That Okay, time to work on the building. Now, just a little bit of details for the building. Um, right, oh, the top hasn't dried yet. I'll give it a quick try. 72. Norwegian House Finishing: All right. A little bit of bluish paint, or I don't have to be really bluish, but just a cooler color. There's some of these areas in here. I need to make sure there is some contrast. Definitely between the windows and the houses like that. Okay, a bit more darkness there. Good. Let's have a look at the roof. Same. This is just a bit of Pain's gray. You know, I'm going to have a chimney here. I've forgotten to sort of put it in, but we need to kind of I need to put something in here because I've forgotten to. Let's just imply that for the time being, that can be the shadow of the chimney on the right hand side. And then here, we've got the shadow of the roof kind of comes out. And then, here and here, you're finding a general shape like that, maybe. Let's color this in. Okay. I might have to darken the actual wash of the roof, as well, but yeah, let's see what happens. Maybe a bit back here as well. This sort of section to the right would make sense to get that darker, 'cause, again, it's sort of in the shadow, a bit under here. What else do we have? Got a bit of, like, shadow here under the roof. Like that. Trying to make it more more obvious. Can I get this one to kind of come out a bit as well? Like this will look better, maybe. Yep. That still works. This bit of darkness here on the right side of the building. I'm just gonna bring that down like that quickly. And here, this shadow that just forms on the right side of this area. Let's darken this down. Cut around that window. Really has to be sort of dark on that right side of the house. Bring that down. Kate. That's good. Let's overlook here. There's a bit of shadow underneath these shaded areas. Plus, then you've got this other bit of shadow that's going to go over the top, like that. And then you've got a bit that kind of runs like this, Kate. Just kind of lift off a touch of paint from this other shadow. I want to make sure all these shadows are roughly the same value. That part doesn't completely dry it off, so I can go in there again. A bit of shadow under there that we'd painted in. There's like this part here, of course. I'm just really sort of picking out some areas to see if there's anything else. I think that should cover it. There is maybe a lid or something here. Let's just see if I can indicate that. Um what else do we have? Not a whole lot. What can actually help now sort of get through some of these little marks for the roof here, like kind of line work, I guess, for the roof. While the paint's still wet so that it doesn't look too, duck on. You, it's the same thing with this area here which I think we could just use a bit of gray mixed in with yellow. Okay, let's see if I can pop in a few. See how this looks. It's maybe a bit too dark. Let's see if smaller rigger brush could do the trick. Very, very light. You can barely sort of tell these lines are running across the building, but they're gonna just help. Like that one there is too thick on top, but I don't can't do much about that anymore. Okay? Pretty pretty basic sort of line work, I guess, but it does make a difference with these Scandinavian buildings, you know, they're made of wood. So to be able to see these kind of planks of wood going across will make it look more Scandinavian, I think, good. Okay. Building down in the corner, there's not a whole lot else I want to do other than maybe bring out the detail of the roof more. So I'm going to just darken the roof a little bit and create some little line work like that running across the roof. And also underneath here, I'll just darken in some spots. So well, okay. Let me put a few little lines for the fence running underneath the left side. And these rocks have, like, little striations and things running across them. So I can kind of try to imply that. Yeah. Lightly. B here, a little bit of that as well. Sort of move dab on with your finger to sort of spread this out a bit, make it look more abstract. Okay. Give it a quick dry one more time. A, Okay, good. I will just start adding on a bit of color for this left side of the chimney here, that needs to be darker still to sort of come out. More Good. And what I will also do is darken the rest of the roof a little bit. So I'm just picking up some gray paint and going over this entire section, 'cause it needs to just be a little darker. And uh, maybe some of this paint before will blend a touch as well. There we go. Good. And a little finishing touches now. I'm going to pick up some real dark paint. This is pretty much pure pure dark paint, just a bit of pains gray. And for this, I can sort of go through and put in some tiny little details, areas of the roof. Like there, you can see this little bit of something and maybe here underneath this one, and here. You know, you're just picking out little details, tiny little details, kind of underneath the roof, things like that to really bring it out. You know, you've got these windows as well, which I think should be A lot darker, so I'm gonna go and put in a bit of color there, just a bit of that darkness. Let's have a look at the left side again, maybe like the same kind of shape like a rectangular window here. But what else do we have? You know, things like the frames or just these little pillars, you know, there might be some more, you know, marks running down the side underneath here, for example, you know, these, like, little shaded areas as well. There, you know, just really bringing out a touch of that. Even the top, it's like, darker, less shaded area. So I can kind of imply that. That's got to be darker then with some brown It's kind of this adjustment stage where you're fiddling around with things and you're trying to get it to look all right makes sense as a whole, bringing everything together. And I think that looks pretty pretty right for the house. There are some little things here at the base, you know, little shrubs maybe that you could put in there around the side of the house. Kind of keep it more interesting, looking more interesting. I decided not to put in those bikes. You can do it, though. I might be able to just imply it just to show you what it'd be like. So if I grab like really dark paint again, bit of neutral tint or gray, we're going to now dry off the brush a fair bit, and then I can just sort of imply things like here that could be a wheel, another wheel here, you know, little bits. You're just doing some drawing, essentially, uh a wheel there, wheel there. There could be another bike here, in the front there, connect this up and simple sort of thing. Um also might be good is if I kind of blend this in a touch with some grass or something here, so then it just doesn't stick out too much. Yep. Okay. Sometimes less is more. There is a bit of something here, like a bit of line work. I reckon I might just bring a touch of white quash in just to finish this one off. As well, I think we've got most of it okay, but a little bit of whitequah is gonna help. I'm gonna use a rigor brush. And let's go ahead and pick up some of this whitequash. I've already squeezed the out, so what I need to do is just activate some of it with some water. Okay. I really want it to be as white as possible for just to make sure that this really comes out as a nice crisp looking line. So like around here, I think would be a good part to imply. So let's just get this in. It's like opaque white paint. It's the great sort of tool for finishing off a scene, bit here as well. These little white frames are very identifying in these Scandinavian houses. So, you know, I really want to play into that more. Yeah, that site maybe a bit of highlight on the bikes as well. What else can we do? We can do things like little highlights on the roof that you can sort of bring out a bit of the light there. There might be parts where you've lost out some lights like here on the rooftop. You might want to sort of just touch on in areas to bring back some of that white. Yep. What else do we have? Maybe some of these frames as well, quick little something like that. Get this, like, a little antenna on the roof. Something here as well. You can see, like, you know, this um, house. I'm gonna bring these little these little power lines in like that in white so that it comes out against the sky a bit more. Kate. A little bit of highlight on this house is also in just w. I want to make sure it doesn't look too just sort of stick out too much. Kate. A we sort of get a finger in there to just, change it up and move around a bit of that highlighted color as well so that it doesn't look too harsh. Maybe a bit for the windows, tiny little indications of stuff going on in there. Okay. Okay, let's have a look. Just anything else that you might want to straighten out, M. In terms of the white, just make it more prominent. You can just do what I'm doing essentially. Might do another one here downward downward sort of line like that. These little bikes in the foreground. This inner part of the window, the door window, I was just gonna Yes, at the moment, really, it's, you know, we don't have to do much at all. I mean, everything is pretty much in here. Uh, I just want to see maybe if we can do something else, maybe put in another pole here in the background, like there. And then the same sort of deal, kind of get this running across there, like this. Maybe create another one, like running there as well. Okay. There's actually two of them. You can see two of these little wires, um, Okay, fantastic. I think I'm going to leave the house as it is, but I will mix up a bit of the other paints kind of like a guash, white guash mixed with a bit of yellow. And what I'm doing here is just trying to put in some sharper kind of marks at the base to kind of just even out the you know, it's really there's a lot of soft marks, but no sharper marks here. So just where I see fit, I'm going to drop in a bunch of little marks here and there. So we get some sharper lighter marks. And this will hopefully indicate help to emphasize the light this scene as well, just a bit more of that running through, especially in the foreground. I think some larger brush strokes like that would be good. All these flowers are kind of like we've got in a fair few of them anyway. There's not much that I can do, but maybe, you know, for example, we could add a flower here, just to even it out, another one there. Maybe one here. Yeah. Yep. Stem that I'm thinking, also, like, whether I should extend this little power line here as well, just to kind of, I don't know, to show this continuity, something like that. I don't want to too much. Yeah. Um, I wasn't 100% necessary, but yep, we are finished. 73. Norwegian Scene Drawing: Got this calm, relaxing country scene from Norway, and we're going to turn this into watercolor painting. And what I want to do first is actually change the composition almost entirely. So well, not entirely, but I just want to raise this area in the front up a little bit more. So maybe here so that we've got more grass. Okay. So just sort of just give it more than a third of the way up. That way I can get in more of a I'm hoping to get in some kind of shadow running across the front, the foreground. There are, you know, some trees and things here on the right hand side. Not a big deal, something like that there. On the right hand side, I'm going to get some of these interesting, as you can see, the interesting sort of mountains that are coming in, and you can see they sort of separate in areas and then come down. But then, actually, if you look at it, finishes just about a little bit past the center point of the page here. Eight. Here, maybe. Yep. Doesn't have to be perfect, something like that. And let's put in the house. I do want to get this in correctly. Now, I try to draw the roof first. I think that's the easiest part to draw in just a bit of the roof, the side of the roof, like that it comes up into this triangular sort of shape on the tip of the roof there, and then actually on the side of the house, it's interesting. You've got this kind of a miniature um, I don't know what it is. Maybe like an entrance or something. I've never seen a design like that before. So you can see it just there. And you've really got some darkness on the right hand side of these buildings the shadow the lights coming in from the left. So let's have a look. What else can we do here? There's some chimneys, so I can just pop in a couple of the chimneys up the top there. I can try to three D it a little bit. Those are a little too big, actually. I'm just going to reduce the size of this right one to make it a bit smaller. There we go. That's better. So we've got a bit of a chimney a bit of a chimney there. And to the left, we've also got some details. So we've got this another kind of house there running to the left. That sort of hidden behind the trees. It's not really a big deal. And there's something here. I don't know what it is. It looks like maybe, like, an outouse or something here or maybe, you know, just a bit of old shed that's um left in ruin. Okay, so we do have a tree here on the left hand side. Um, I'm not sure whether I want to get that whole tree in or not. It might be a bit much. So yeah, I'm gonna just think of maybe creating some branches or something coming in from the left hand side, but not quite Yeah, I guess not quite forming that large bush that you see in this scene. 74. Norwegian Scene Painting: So let's get started with the painting. And I always like to begin with a very light kind of wash. And I reckon what I'll do is start just Let's have a look here. Probably can start just in the sky. And I'm picking up some cerulan blue, really light wash of cerulean blue. It is almost just all water in there. Fortunately, I've picked up a bit of the dried paint, so it's formed a bit of a funny button on the page, but it doesn't matter. I'll just spread that out. Okay. There's some parts that are more blue, so maybe in the top here, you can do that, on the left side. And what I'm going to do actually is drop in some kind of darker clouds running through the blue so that it's not all, it's not all completely That's going to, you know, I just want some darker colors, some darker clouds maybe running through here. Tends to work quite nicely. So over here, let's keep going. I'm gonna paint this, like, a lot lighter as we approach the base around about here. Okay. Good. It's pretty dry up the top, actually. There's not much paint there at all. Now, a bit of really just have a bit of pains gray here, and I might mix in a touch of purple and a little bit of brown as well to just neutralize that a touch. Okay? Let's try something near, like a there go. It's a bit of a cloud sort of pattern here. There. Uh, Yep. I leave a broken edge there as well. How about something here? Sometimes, the more randomized you make these brushstrokes, the better it actually looks. As I go down the page, I tend to just add in a little bit more sort of smaller and lighter touches or those areas below, okay? Good. Okay. That looks decent. I think I will leave that pretty much and move on to the rest of the scene. So the mountains, we're going to pop in some light color, and I really think I'm going to just do this all at once. But we need to make, yeah, the background of these mountains just a little bit darker so that they come out in front of the sky. And there's a lot of green in there, but I'm going to use probably some blues and a bit of this leftover, not leftover, a bit of darker green. Okay, here on the palette. You do see that there are some lighter parts of the mountain, but I want to just simplify this one down. I don't want to, I don't want to spend too much time on, um, yeah, implying all those little bits of light and things that you can, as you can see, just leave out a bit of the paper like this. Okay. It's kind of like a greenish blue value, and I might add in some more blue ultramarine blue. I just simplifies this whole thing so you don't, you don't get too caught up with all the details back there. Okay. And I'm going to use the tip of my brush to cut around some of this stuff, so you can see the rooftop of that building there. I'm just going to cut around that. You know, there's some trees here in front. It's not actually a big deal because I'm gonna go over them anyway. But, you know, further down here, I'm going to pick up some more paint, a bit more blue and a bit more green, kind of mixed up, so I've got, like, a darker, hopefully darker value around this house. And, you know, the same thing goes. I'm just going to cut around it. The rooftop. Um, these chimneys. I'm just going to I'm trying to do this in one go. I don't want to overwork anything. It's tricky. Just leave it there we go. So that's kind of around the houses, and that's just going to help create a bit of a boundary. We don't want any of this paint to go into the houses just yet. Okay, I'm going to move this side down a bit as well. Left there. There's also a good time to drop in, you know, some other value, some other colors in here as well. I've just got this green value that I'm going to drop in here, let it sort of spread around and do its thing, so that, you know, it looks like there's basically some more greens in there. Um, let me just see if I can get the top of this. Yeah, I want to get the top of this mountain in probably a little sharper. Okay. And you don't have to do this. You can leave that white on if you want. I just thought it might look perhaps better if I do it this way. On the right hand side, this is where you've got, you know, look at all this stuff. It's just little shrubs and trees and things here. It's not much at all. I'm just going to simplify it all into that sort of shape. Now, here's the fun part. We're just going to get in some lighter green value. So I've got that same green that I had before. It's like a darker green. I don't really even know what exact green it is, but I'm going to mix some yellow into it so that we're getting a more vibrant green. Hansa yellow or Indian yellow will be great for this. Okay. And look at that. I'm just going to start blending this through, okay, into the background, and it will hopefully yet melt in melt downwards into this so that it's more organic. I mean, you can even see that there are some sort of lighter green leaves in there. I can just paint some in like this, encourage it to blend in areas. Apart from that, I'm just going to carry all this down the page. And yeah, like I said, it's a very vibrant green that you want here, and this is going to indicate the light source. You don't want there to be too much darkness in there. Okay. You really want this to be quite light, almost as light as the blue in the sky. Okay. I'm going to leave some of these white specks in here, they can be used for flowers, maybe little flowers. Okay, great. So I'm going to let the bottom of the pase just dry off a bit. And while that happens, I will put in a little bit of light color for these houses. I think for the one to the left and even the one in the center, I'm going to go with this kind of reddish brown color. It's just it's burnt Siena with a bit of red in it, as well. And it's really kind of there's almost no painting there, enough just enough to kind of get a little bit of color running through the building like that. I reckon I'm just going to leave the roof white. I'll do the same for this building here to the left a little bit of that. That's all you need, maybe a bit here as well, in this little rooftop, there, okay. And there we have it. We've got, like, you know, a basic indication of those houses in there already. And yeah, I'll let that sort of dry off in the background. But what I want to do here in the foreground and hopefully it's um it's dry enough. Okay. You kind of got to let it sit for a little bit, let the paint sink in. Okay. Then you want to grab your mop brush and get yourself a kind of dark color. I'm going to use a purple mix with green. So, I mean, even just your purple is going to be pretty good pretty good for this, a real dark kind of value. But still with some of that green I've recycled in there as well, I think that should do the trick. And and let's just go straight in. I'm going to make this kind of dark in the foreground, like that. A bit more green maybe in there. Got that. Okay. Then maybe some other little something here in the background as well. Okay, so that kind of blends a bit. There we go. So this is just to create the feeling of a sort of shadow in the foreground. I put in a bit of blue here as well. I think just a touch of blue will help. And while the paint is wet, when you do all this stuff, it just melts in nicely, and you get these kind of soft little gradations and um Yep, doesn't look too forced, just blends in nicely. That's what you want the whole thing to just almost melt together and look like you've put all the colors in the right place. So I think this is looking pretty decent so far. So I think another thing I'll do at this stage is just work on a tree or something to the left. Okay, and I've got a rigor brush, and I'm going to pick up some darker paint. Okay. I just tok this page downwards to stop the paint from running too far up. Noticed it's running a bit further up than I'd like. We still want to make sure we're keeping that that nice light right in the center of the scene. And I'm going to just experiment around with this. I've got this rigor brush, and I'm going to put in a tree in the essence of a sort of tree shape anyway, running through up to the top like that. And I'm just using really dark paint, really dark, it's pains gray and a bit of brown mixed together. Okay. If it does some interesting stuff, that's what I want. I don't want to have this situation where I've got all of the same marks, you know, in the scene, and it looks kind of boring. So yeah. And the good thing is that some of these mountains are still sort of wet in there, so you're getting you're getting a bit of intermingling between the Between the light and the dark. It's quite a dramatic looking tree, isn't it? I didn't anticipate that, but it seems to be working okay. Okay. So I'm going to let this dry off on a slight angle so that the paper is pointed downwards like this so you can lift the back up and we'll get back to painting the rest of it. 75. Norwegian Scene Finishing: Okay, so everything has dried off now. And the next step is really just to put in the fine details, the final finishing touches, I suppose. So let's get some of this grayish paint. I'm going to pick some of this up from before. It's just leftover, kind of, like, a gray and purple color that I mixed up a bit earlier. You can mix up any sort of gray it would do the trick. Um, and we'll put in My brown for this side of it just so that I can get in this darker side of the building here. So there is a bit of, if you can see, there, just a bit of darkness running down the right hand side of the building. Let's get that in. That's all you need. Just something like this. I kind of went down a bit too far, but that's no big deal. You can see it kind of goes across there as well underneath that part of the building, maybe here. And where else do we have? Maybe here as well. There we have it. It's really just to make it look like the light source is coming from that, you know, the left hand side of the scene, okay? Maybe on these chimneys, as well, you get a bit of darkness on the right hand side of the rooftops there. There's a bit here behind, actually. Didn't see that just behind there. Like that's kind of the continuation of that other side. Okay. Might just quickly do a little something like that. Okay. Good. You only get one chance at doing this. And here, I don't know what this is, but it's a kind of, you know, darkness around there as well. It could be like a little outouse or what have you. Here, I'm going to get in a bit of this same color, maybe with a purplish, some purplish value in there as well. And you can see around the house, there is like these, you know, shrubs, trees in there, too. But You know, as you get down further, there's actually more of a green color, like a darker green value here, so I'm just going to drop some of that in. Um, let's go here. I think the important thing is, um, keeping in some of this light, as well as the darker bits, you know. Soften some of these edges. Yep. I can't really see this side of the house. It's tricky. I have to kind of make that up a bit like that. You know, there might be some windows so I can pop in, like, indication of some windows there and maybe the frames. It's quite tricky to see anyway over there. So I have to kind of make a bit of that stuff up there. That might actually be easier, more rough looking. Okay, so some window detail there. I can't really see there on the right. We'll go and fix that up in a moment. Um, Great, great, great. Now on the right hand side, I think a bit of this same color might be good, some of this greenish value, and I'm going to drop in here, the right hand side, and just feather that across so that there's more of a, as you can see, a bit of a contrast between the darker green here and the the lighter greens in front. Okay. And when this dries off, hopefully, it's going to look a lot better and more put together. Okay. But you just at this stage, you really kind of Um, trying to make sure that you've got harmony amongst all of this so that it blends, you know, blends nicely as well with the houses so that these trees and things don't just sort of stick out. But yeah, this is the second wash, and that's just what you have to do. You have to take some risks and put in some darker values, okay, like that. Like how that house has turned out to the left. Right house looks okay. I think some of that green has kind of worked its way a little bit into the house, but it's not a big deal. It still appears kind of warm Trump happy with. Now, I do have another brush here called a fan brush, and I'm just going to pick up some leftover greens and that kind of thing and sort of feather a bit of this stuff through here, just some little little bits of brush work coming through there, and this is going to help to kind of um, yeah, going to help make it look like there are some grass growing through here, just some different texture, I suppose, because it was difficult before to kind of get that in while the paint was still wet, but this is a quick little trick because it's so, as you can see, it's so, uh quick. You don't even need to bother much with the brush strokes, this band brush. You can also just use a normal brush. That's going to work completely fine, as well. But this technique, it just I think it looks better when the brush strokes are a little bit more dispersed and different looking as well. So you're not, you know, you don't have the same you know, brushstrokes running in all the same direction is what I'm trying to say. And as you get further down the page, you will notice the bits of grass actually become a little darker and also taller. So that's something you have to do with the front of the scene, like you can see here, I'm just kind of feathering bits of this darker paint in below and making these some of the brush strokes a little bit more darker and some of the blades of grass taller. I think some of it's, like, quite important over here next to this tree that I made up because it's it kind of helps to darken the base of it a little Okay. Dries off really quickly, mind you, maybe some over there. And I also kind of want to imply some, you know, stems of the flowers or something like that. Let's just see what I can do, indicate some of them. Pick up a bit of leftover paint. That's what these little little, you know, tiny little bits of white in here can do, sort of make it look like there are some, you know, wildflowers growing in there. And you know what? If you've missed out if you've missed this out, you can always just put in a bit of guash. And I'll show you how to do that in a moment. So I've got some white guash. I can just pick up on my palet it's going. We whit some of it. And drop some of it in, just got to make sure that it's quite thick so that it covers the backing paint. Guash is basically an opaque watercolor. You know, here's some more, maybe some more up here. They could be like, kind of like cluster of flowers or something as well. Sometimes this helps to break apart all this mess, this darkness, not mess. So I kind of think I need some more of the some more of the darker paint as well here in the front just to balance some of this out more. This is working nicely. This is working nicely. It's looking like this kind of a little flower field, you know, because there are flowers in this grass as well, kind of some wild flowers growing. I'm just putting some of these tips these flower tips right on top of the existing you know, little strands of grass or just stems there. And, um, yep, always just I've got to be careful not to overdo it. I'm getting dangerously close to overdoing this. I want to randomize these little flowers as well, so they're not all the same and keep them kind of dispersed. So you've got one every now and here and there, you know, in the background. Oops. Too much. You can have them different colors if you want, as well. I'm just going to simplify it to that. Um, okay, that's looking good. And, you know, it's just, again, the same sort of deal where you might want to, you know, just bring out a few of the stems and a few of these darker sort of marks on the page to again, create more contrast, make it seem like, you know, it's getting darker in the foreground. Touching up a bit here and there for some flows that might be larger in the front there. Okay. Great, and we are finished. 76. Scandinavian House Drawing: Let's get started with the drawing, and the first thing I want to do is put in the bottom of where the house essentially touches the grass. And you can tell the photo has been taken from a low sort of vantage point. Okay? So we want that roughly to be the area where we place the house. Now, just sort of having a look on this paper and it's also placing looking at where to sort of place the house. Now, this right hand side of the, I guess, this triangular portion, it's right in the center. So I can just draw that line right in the center and start working a bit on this rooftop. So it's just a triangle, okay? And going down like this. And I want to keep this nice and loose you know, as loose as possible anyway. And let's have a look sort of come up there. This part of the roof is like, made of sort of white material. This comes down. There we go there. That's sort of the right hand side. Let's have a look this left side there. We've got that part of the house, okay? And we have, of course, some windows as well. We can put these in. Look, I'm just going to make sure that I've got a little, you know, basic indication of it, lightly done in pencil. I'm not trying to get in anything too fancy as long as we've got ourselves windows in there, and you can see these kind of white frames, which are really characteristic of these sort of Scandinavian windows, which just making sure I'm, you know, indicating them to a decent enough degree. Now moving over to the right here, you can see there is a chimney that sort of kind of sticks out of the rooftop a bit like this. I'm going to just draw that in, like that. Okay. There's something on top, as well, the chimney. I don't know what that is. Just another feature, I suppose, like this and let's have a look. You know, you've got this kind of structure running here. This starts to kind of come down a bit here and then zip off there. And then you've got this interesting other structure, which is basically another kind of triangular sort of structure like this. Okay. And, you know, again, I'm trying not to overthink this one. Just draw it in. There's another window here. I'll place it roughly where and start putting in the frames like that. Okay. Great. Where the bottom of it ends, and then you've a bit there. Okay, great. And then you kind of got the other side of the house that's just jutting out the back here, basically like that. Okay. And that comes down. Just a nice vertical to the right hand side. Okay. And then we've got three windows below, so let's just draw them in. One, two, three. And, you know, we've got some of these frames as well. We can just sort of indicate some of those frames. Uh, Fantastic. So that's roughly what it looks like. I mean, you can actually put in the shadow here. I actually put in this other chimney to the right. Forgot to draw this one in. It's just sticking up as well there, the right hand side of the building. Um, yeah, I also noticed here in the background, there are, like, rooftops of other buildings, and you can just sort of almost make out some of them just peeking through the, peeking through in the background. Um, I'm going to put place them a little further away from this house, just so that I can get in a bit of a yeah, just a bit more of a darkness behind there. And I'll use this tree as well. I really want to use that tree as a bit of a cover for that right hand side, so I don't have to draw everything, draw everything in. I want to put in a large shadow across the ground, as well. But here across the top, you can see there is some kind of fence, and it is just, you know, running across the scene going downwards a little bit. You've got kind of like a rock here, and that's casting a shadow. There's a shrub there, another shrub there, another shrub here. A lot of this stuff we can kind of make up as we go later on. But I do like this tree here. I'll put an indication of that tree in, and just some of the branches will have to, this will be good fun for later on. And, you know, there is actually a house behind there. I can barely see it, but there is a house behind there. I'm going to indicate that a bit more because there's actually more detail. But, um, yeah, I'm going to just indicate it a bit like that, okay? Kind of off to the left hand side on top of a hill. Okay? There's all these shrubs here. Then you've got these kind of jagged rocks on this cliff kind of area here. So this is going to be interesting for later. We can, you know, get in some of these rocks afterwards. Just an indication of them will be fine. Yeah, and I think that does it. For the drawing, we should be able to get started. 77. Scandinavian House Painting: And I will firstly put in some color for the house. Now, the rooftop, I'm going to leave pretty much, I'm going to pretty much leave that same color in. But so white, essentially. But for the right hand side, I'm going to just dull down this area a little bit with some of this kind of cooler gray, and I'll go over the top of it with the red in a bit. But yeah, I just want to make sure that I've got some of this, some of this color here. Because the window frames are actually darker. So let's go ahead and yeah, let's put in some color here for this left hand side. It's kind of really vibrant red, maybe with a touch of brown in there as well. I'm going to put in. But let's just try this a really vibrant sort of red. That looks good and dull that down that color a bit too. I was just too Me red. Yep. Okay, there we go. I'm just going to cut around this window, and I'm just thinking we've only kind of got one chance really at doing this, but I don't care about getting it in perfectly just enough to indicate where the roof starts here. Okay. And then we come down like this. This whole side of the building is pretty much just red. Then you've got a bit of that white support beam to the left. Okay, there we go. So that's it pretty much. Leave a bit of that white there. This will kind of red in and do something. I'm not fussed about getting any of that in just yet that darker part of the reddish shadow. Um yeah, a lot of that we can sort of figure out as we go. The rooftop, though, I think what I'll do is just put in a little bit of this cooler value, like a grayish value in the roof. It's just gonna be such a light kind of wash in here. Yeah, I think it needs to, I need to take a bit of edge bit of the edge off the stark sort of white contrast in there. Um, I think that will look a bit better later. Okay, it should not have spread there. I don't want that. Got to be so careful at times. I can lift off like that because the paint is still thankfully wet and just kind of redo some of this stuff in the rooftop and put a bit of that gray and yep there we go. Now for the red, still thankfully able to fix this up a bit. Let's have a look. What else do we have on this scene, kind of like the lighter parts because we want to just make sure we're indicating some of that light. The rooftops in the background, I don't really want to do much, maybe just a bit of gray in that one as well. We do see some gray in those rocks in the distance, so a touch of that here is going to help Okay. Touch of that gray. Um, this building here to the left, I'm going to pick up a bit of yellow, a bit of yellow, and just gonna drop that in for this building in the background. It's, um I think it's a warmer color out there. I can't, 100% tell. But I'm just making this look a bit more Uh, yeah, just a little bit more obvious, I suppose. Okay. Bit of the roof, bit of color for the roof. Left side. Now, everything else here is really just a kind of a variation of green for the most part. I mean, you've got some of these rocks that are gray here, but I'm just kind of looking where else do we have to put in any other sort of gray bits, and there's not really much. I think that should be it for the gray. And I'm going to mix myself up a bit of green. So this is some kind of undersea green, just a dark green. I'm mixing some Indian yellow together to create a nice, vibrant sort of color. I reckon I'll start up the top here and sort of work my way through this and cut around that building. Hopefully, it doesn't go too much into the roof. Okay, that's fine. Like that. And I'm going to just go across. Now, I think I forgot to do was maybe just indicate this fence a little more in here, just some brown or something here. Want to just want to make sure I've got a bit of that fence in there. Alright. Great. So back to that green that I've mixed up, it's kind of a real light green, so make sure you don't mix too much paint in there. And we're going to go around here, I'm just going to cut around this all these rocks. Yeah, they kind of, like, grow into into those rocky areas. So this is going to be good just to cut around and indicate what's happening. There's technically a bit of sky in there, but I don't want to put that in. It's such a small slither of sky that it's gonna it's not gonna be big deal. Okay. Now, I also want to save some darker paint to sort of go into this area behind the house to make sure that the house really sticks out. Okay. But for this part, as you can see, I am just kind of, you know, adding in all these lighter values. Okay? All these lighter values. But I'll go into that in just a moment. So let's see. Maybe some dark green. Let's pick this up with some blue, dark green mixed with blue. What do we have? Kind of like a cooler value here, can sort of play with this and drop some of it in near to the rooftop, like that. It's kind of tricky to cut around this stuff, but with a smaller tip brush like this, it's quite a lot. It's quite easy. Okay. I don't want any of this to really spread too far inside the roof, as you can see, it's, like, sort of started to melt a bit in there. I don't want that, so I'm just going to pick that up again, continue along. I was kind of hoping for that bit to be dried, but it's not completely dried. Okay, here we go. Just the side here. Kind of taking extra care because you're cutting around. There's a lot of cutting around work that you're doing. Member here. You know, cutting around this chimney, as well, but Great. And same thing goes here. You're just sort of adding in some darker paint around those houses inside this area. And sort of like I was saying before, I'm cutting around the houses a bit. And so that way I can, so sort of leaving a space in between so I can get some darker values running through. Let me fix this bit up. It looks a bit funny. It doesn't have to be perfect. Great. Let's keep going to the left hand side. I'm gonna dilute this green down again with a bit of yellow, lighten it up. Here. Hopefully, all this stuff hasn't completely dried yet. It hasn't. Okay, good. And we're gonna bring this down. Gonna bring this down to the base, but just cut around that house a bit first. Now, I'm going to really mix up some light green all the way across the base. And yeah, this can just kind of be the indication of light, I suppose. Um, just make sure I've got enough of it in there Yep. And the trick here is just to use a ton of water, mix that green up with a lot of water, sort of mixing some more yellow in there as well. That helps to sort of brighten up this scene. I'm just going to bring this all the way down to the base. Okay. So this should take a little bit of time to dry off. You can use a hair dryer to sort of dry it off faster. But yeah, what I'm going to do is just continue to work in some shadows, like, as you can see here, some darker shadows that are running through from the left to right. I want to imply this in really kind of as you can see, really sort of wet and wet style kind of look. Don't want all this darkness to be too sharp in there. So here's a bit there. You've got a bit here, maybe here. So parts are just catching some light. We've got a tree here, actually, but we can get that in a bit later. Okay. Um Okay, maybe a bit more darkness here. A darker sort of tree there. And I'm going to bring a darker sort of shadow across the foreground that I've done in a previous painting as well, but just with some gray and blue sort of mixed together. And I'm just going to do this kind of get that bit of this sort of feeling of light running through the center of the scene, okay? Blue in there. I just think at the moment, there's just too much too much light and sort of darkness running across there. So I just want to yeah, I want to put some more shadows darker values in to balance it all out. But this isn't the only time we can do it. This is just the yeah, to get in some of the dark wet on wet shadows. But, for the most part, we can actually, you know, we can do a lot of this afterwards as well. So let's have a look. Right? That's all looking pretty decent. I mean, for the first wash, anyway, so let's give this a dry and then we'll start with the second wash. Okay, so let's get started on the next wash and for this part, what we're going to be doing is putting in all the darker sort of shadows and trees, that kind of thing. So let's have a look first now. I want to work on this building, so I will pick up some of this burnt sienna. I'm going to mix that with some red and also some gray to really darken this down. So let's have a look. That's pretty dark, actually, but it might just be the right consistency. Let's just try it. Good. Yeah, I think that looks more or less accurate. And we can cut around these windows that we were sort of figuring out before and Yeah, sort of put in little details and things afterwards. I'm just going to bring this all the way down to the base here, where the grass and what have you is. It's just oops some more of this color. Yep. Tricky to get this value right, but it should be okay. Um, it's really just anything on this side of the building, besides the rooftop. So it's not too hard. You just got to use the tip of the brush to cut around everything else. Sort of goes all the way down to the grass, the sort of brighter sort of grass in the foreground. It's cut around here as well, you know, you got another window here. Fantastic. Okay. Now, there is a bit of white here that I need to dull down afterwards. It's too I shouldn't be that bright. But, it's fine. I still looks good. Okay, let's have a look. What else do we have? I do think that I want to get in this same value. But here as the shadow, as you can see, it's kind of like this shadow forming here going upwards through the window there like that. Lift off a bit of that painting was a bit much. You can still see that window underneath, which is what we want. Okay? And let's have a look what else we can kind of get in here. So yeah, there are some lines sort of lineworks and stuff on the rooftop. But I've noticed on the roof, there are these sort of areas here that could be darker. These sort of bits. I'm going to just darken the right side of these chimney areas like that. Just a bit of gray. That's all you need in there. And then there's some darkness here. There we have a quick little indication. This one here in the back as well. The Cake. Really, the whole thing could be just gray down on top. That's better. Maybe a bit of detail, a bit of brushing up afterwards, we'll fix that, make it look a bit better. There are some shadows as well. I'm just going to pick up some gray paint. Yeah, actually, it's kind of like a cooler shadow. It's like a bluish sort of glass. I've just picked up a bit of ultramarine, mix that with a bit of other whatever was left on the pale. No. Here we go. Kind of a shadow of the chimney there on the roof. And the one to the right here is not really anything, but there is an interesting sort of I don't know what this is, but there is a shadow, running across the rooftop here and here, sort of, I mean, it's cast by something out of view, but that's going to help a bit. Just lighten sort of lighten that shadow a little bit. Okay, so. Okay, good, good, good. I'm gonna put in some details for the windows, just in the inside part of the windows, anyway. This one here is not really too only a little bit showing through. You know, the whole aim of this is to really paint it quite loosely. So I'm not fussed about getting in, making sure everything looks picture perfect. Just enough there to signify that these are windows. That's going to be good. These ones look a bit too stuck on. Okay, let's see. What else do we have going on here? So I reckon I can put some color here for this part of these two houses in the distance. Um, a bit of a bit of something underneath there as well. Um, good. The houses in the background. This house here, it's yeah, I'm just going to darken it down a bit like that. You still sort of see a bit of the yellow showing through. Okay. But I'm going to just continue to work on these sort of trees and darker shapes here in the background, because I think it just needs to be significantly darker still to bring out some detail on this sort of cutting around the edges of this building, I suppose. So, I'm just going to use this as well as I can. But with that set, I'm probably going to have to employ some squash later. Yeah. Just getting in some, I guess, trees and shrubs behind where it's possible. Try here maybe. Yep. So you're just using basically some negative painting, leaving the main shape untouched in the front. Okay. The rocks in the back, I've lost them. I'm going to have to get some gray afterwards and go back into it again one more time. So, it's a shame. So sharper shadows. I thought I could do this all in yeah. I thought I could maybe do it all in the wet wash, but I don't think so. Let's do this. A dark shape running across. This also goes up into this building a bit like that. Here, I'm going to draw just paint in some of these little verticals for the fence, as well. Okay. There's also this, um, other house or something here to the right. No house, but this tree here. Let's put in some color. 78. Scandinavian House Finishing: A little rig of brush. I'm going to use this to just pick up some dark paint and put in some tree branches up the top because I do think that we've lost just this sense of detail here. There's like a power line or something running here. You can see it just sort of run across as well. So I might just try to indicate that, to be honest, yeah, something like that. But yeah, this can also be trees. The background. And yeah, it's just a rigor brush with a bit of darker gray paint. Okay. And really, yeah, you just kind of draw with this thing. There's certainly certainly a need for some of these sharper shapes and areas. So yeah, here and there. I think maybe even behind this, yeah, this house here. I think a little bit of something would be good. But And yeah, I'm trying to do some of this wet into wet so that it looks more organic and natural as well. So maybe if it can blend a bit into the background, that would be nice. Okay. And yeah, another thing you can start to do, as well is to just indicate some of the details on the building. So, you know, I do notice there are these kind of, like, vertical Can you see them these little vertical lines on the building? So these need to be implied. Oops. Further up as well through this shadow. Okay. Right hand side, the same deal, some downward brush strokes like this. It's kind of easy when you've got a large stretch rather than these window areas, but that's what you need to do. Um, I want to dry this off and make it, like, a lighter gray color because I now need to kind of do the roof. Some little areas here, like for the roof, see that? Um, bit of that detailing, I guess. There. Um, yeah, you really just you really just, um, getting in the most dark spots or areas that you might want to indicate some contrast for the house. Like here, I've noticed it's pretty dark. So I can darken that area kind of around the edges of where the roof hits the side of the building. It's pretty dark. I'll just indicate more detail, give it some give it some more authority. Like that. Um, some of these windows as well, maybe you kind of think it's just not too you need a bit more detail in there. You can sort of outline the see the edges of the windows like that. Um, it's just detailing work really. Picking up paint, dropping it in. Here, this top one looks a bit off. See if I can detail a bit more. The chimneys, you know, I would think some darker bits in there would be good as well. Again, just extra detailing. And it's even subtle things like this part of the roof is actually, like, a bit darker. Just before where it touches the side of the building, there's just a bit of darkness there. You can barely tell, but Good. Yeah, a lot of this is just kind of detailing the house. You know, there's this one here in the background as well. I can just sort of put in a few little marks for the rooftops. That one there, you can't really see what's going on at all, but it does help. Put in a bit of that. Okay. Maybe some detail, another sort of little rectangles. The windows. But underneath the rooftop as well there. Okay, let's have a look. What have we got? What's left of this? I mean, for the most part, I'm pretty much done with the house. I don't think there's anything else I want to Yeah, I don't think there's really anything else I want to imply in there. But I do want to put in some indications of grass, maybe some flowers. I got, I've got a got this brush here. Y. So this is basically a little um, little brush that I can use to pick up some darker paint, a fan brush. You don't need one of these. You can just use whatever you have like, you know, thinner brushes, help. They work just as well. And I'm going to go in and just feather some of this stuff in, further up, okay, throughout the scene to create some sort of feeling of grass, I guess, on the in the foreground and keep it really light. I mean, I'm just using the leftover green on, you know, that I have already. You can sort of make it a bit darker in some areas near the front to indicate that we're getting closer to the front of the scene, and the bits of grass become taller as well. But everything here in the background, you want to keep relatively light to indicate, of course, the light source coming in from the left. So I always get a bit funny and start to rush this if I'm not careful. So yeah, try to take your time with this step, and it's kind of just about layering layering different marks on the page and making sure that it still kind of still preserve that previous wash. And as you keep going, you realize that it becomes looking like something. You can put in tiny little tiny little sort of flowers with some gouache, maybe, you know, in areas like here. Yeah, this just helps to break up the darkness and make it kind of look like there's more detail in there than actually than it actually seems. So yeah, one of my favorite little techniques, I suppose, draw. Sometimes you just want to paint these flowers in a few little clumps, and then you have some that just sort of stand out by themselves, as well. O. Different colored ones. And you can also use this squash with your little ambrohia and create also some areas where the grass kind of goes upwards, which is good. I kind of want that to look a bit more like this, like it's going up into the building. So that's kind of the only way I can do it really at this point. Sort of blur off some of the edges, so the house looks like it kind of fits in a bit better. Little bits of highlighted grass. You know, maybe it's picked up some light here in the background. You're just layering over the top of the previous stuff. Bring some of it down through the center as well so that it, you know, continues. Focusing a bit on this house and trying to blend it in better, but you can't do all too much. Okay. So fresh white gouache I'm going to use now for, I guess, the final finishing touches, where I want to recover a bit of light and just quickly give it a dry. Okay, a bit of white guash. And I'm looking at the reference and just seeing. Yeah, trying to find some spots that I could recover. The white of the paper. It's tricky. Maybe here could be a good opportunity. There we go. That's now looking a bit little better here as well, the side of this building. You know, we've got a bit of this side of this building, as well. And the roof, you just being so careful at the same time. Um, yeah, I lost out a bit of that previously I went too high, but that's alright. Okay. You carry this to the right touch. Well. So maybe the windows, we could just put in some little details of the frames again or just touch on in some parts. Okay. More white. The left side of some of this chimney and the rooftops. Yet again. Sometimes you might get a little bit of sparkle on the edges of the edges of the roof there. And use that to clean up part of this, as well. It's like a detailing, really. You know, some of these buildings here in the back, you know, a little something to help bring them out. This one here, a bit of light on the roof maybe like that. Yeah, and what you call it, this area here in the back with the power line. Just, yeah, I need to do it darker so that it actually comes out, looks like something. Okay. Um. Looking good. Probably the only thing I can think of is, like, again, just finding areas where I could touch on and create this sense of continuity so it's not just white on the top, but we've got maybe some little flowers here in the, you know, midground area as well so that it sort of it's not just, yeah, it's not just all in the buildings and that's it. Some of this might turn green. I don't care. I just need to mix some of this through. It would be good to have some larger ones or a cluster of flowers here in the foreground as well. That just helps to make it look more like a flower. Especially in this sort of scene, a lot of it is just kind of you're implying stuff that's there, but isn't really, so Yep. Okay, and we are finished. 79. Norway Landscape Drawing: Right. So this is an interesting scene because we've got a lot of these sort of low hanging clouds up the top, and we're going to have to paint this in kind of wet onto wet with the mountains in the background. But let's go ahead first and firstly just sort of work out this general landscape. So we've got this whole grassy area which kind of dominates the scene almost goes more than half the way up. So, you know, I'm going to draw in this looks like a little hill on the left hand side here. Just a little hill there, and then you can see it dips down, and then you've got this sort of of undulating sort of land. Slopes kind of downwards a bit in general, the land. Okay. And, of course, we've got, like, you know, we've got a tree here, but apart from that, really, there's not a whole lot else. You've just got this this house right in the center. And, you know, I'm actually thinking to just shift it a bit to the left. It's just too centered for my liking. Let's go ahead and pencil this in. So we've got the roof. Gonna get the roof in first there, and then the sort of side like that. Let's have a look. What's going on here? There's another sort of, what you may call it, rooftop of this other main part of the building coming down here. Oops. I want to make this as clean as possible because this is basically the only man made object in this entire scene. So we've got to really pay a bit of attention to this on the rooftop, I've noticed there is a little kind of chimney here. So just draw this in, okay? Kind of running up the roof like this her have a look. It should come up like that. Me turkey, bit of this side part of the chimney, and then you've got a top bit here, and then some little details. On top, you know, pretty basic. Okay. Let's right. Let's take a look. What else do we want to put in? So we've actually got, like, a bit of this part here that sort of comes down like that. Little section of the house. We can start putting in these sections of the houses as well, the bottom parts here. Okay, there we go. Little boundary. That's it. Shifting it to the left, I think, looks a bit better now. So it doesn't kind of yeah, doesn't sort of go right in the center. I'm not sure what this is. It looks like like another part of the house, like a shed or something to the right. So I'm just gonna put that in. We'll figure it out along the way. And also up the top here, we've got a window. You know, there, and then you've got a window down the bottom. Look, a lot of stuff going on in there. I'm not gonna bother too much with the details. Just yet, I think we can get that in with the watercolors, the paints. So yeah, I just want to draw in some little guidelines first. Um, yep. What else do we have? You know, there's actually some part of the roof here that comes down here. Sort of sticks out a bit like that. Kate. Alright, I think. I think we got a decent sort of grasp. Um, Let's put some of these frames on quickly to remind me later on, not to miss them out. Okay, we got a tree here. I right tempted, actually, to put another one here, perhaps, maybe some another kind of bush or something there. To be honest, this stuff may not even make much of a difference till later. I'm also going to get in a nice sort of shadow running across the foreground. So you can sort of separate this out. I want to bring out that light a little bit more. And yeah, there is a you can just see it, but there's, like, a power line there just running across the roof and kind of going out maybe to the side, like that. And there's another one up here, like a power pole seems to be maybe connecting this house up. Yeah, we'll see how we go. I don't know whether I'm going to put it in, but we'll wait till later. But that's a good drawing to get us started. 80. Norway Landscape Painting: Alrighty. Let's go ahead and get started. I've got a mop brush, a large mop brush here, and I'm going to firstly pick up some clean water and just get that in right at the top of the scene. Alright? I want to make sure I really wet down this area of the page, so then, yeah, basically, I can feather in feather in the bottom part of the mountains. So yeah, putting enough water on there to make sure the page is soaked with water. Let it sort of sit in there for a bit as well. So I'm not kind of, I'm not trying to rush this at all. This part might come down a bit more like there, perhaps. Okay, maybe a bit here. Good. So let's go in. I think what I'll do actually is start with larger round brush. Normally, I don't do this, but with the round brush, I think it's just going to, it's just going to allow me to get in yeah, a bit more detail with these mountains and not over sort of water the area. Another thing you can do is sort of pick up. I've got some gray here on the page and just sort of drop in a bit of gray here and there because these clouds are not 100% sort of white. You can see it's just kind of like a grayish kind of value in some areas like that. Okay? Now, for this mountain color, I'm going to pick up a bit of ultramarine blue. Okay, vultramarine blue, and maybe some green as well just mixed in there. Alright, let's test this out. Let's test that out. So it's spreading, as you can see, the paint is spreading up quite quickly. What I like to do sometimes is just, you know, angle the sheet downwards like that to stop it from moving around too much. And that blue in the background is probably a bit too much. I'm just going to doll that down a little bit and add in some brown. A little bit of brown or something in there as well. So we kind of got a mixture of brown, blue, okay, that kind of thing. And let's just go ahead and cut around like that. So this is really just to make get that sort of background in. Okay. And around about this time as well, might be also good idea to just get in a quick wash for the kind of orangy color on the building. So I'm going to pick up a little bit of orange, tiny bit of orange. You don't really have to do it at this point, but I'm going to do it anyway. I'm just cut around a little bit. Now, the whole point of this is just to make sure I've got in a lighter kind of wash on the building. And I want this to kind of dry. Yeah, I'm sort of waiting for this back area to dry a little bit, too. So it's kind of just yeah, allowing me to put in a bit of that color for the building. Okay? It goes all the way across the left actually here as well, kind of underneath the building to the left of it. To so kind of looking at where the light source is. And the light source, I believe, is coming from the left hand side, the top left hand side. So still thinking whether I want to leave the roof in that color or just Yeah, just make it darker afterwards. We can decide later on. But yeah, I wanted to put on that quick coat of orange first. Okay. So back to that color that I was grabbing before. Let's drop some of this in. And you see how it touches the edge of the edge of the paper there, and it creates a nice soft, beautiful soft edge that I can then kind of carry down further. You can even see some of it may be going up like that. It's very difficult to imply, but it's just a bit of touch and go, essentially. And this mixture triple sort of mixture of brown, blue, and brown blue and green is perfect. Let's put some in here. Trying not to go over that part of the house just yet because I'm waiting for it to dry, but pretty much do most of it already. And now, this little house here to the right, I'll probably cut around it just for now, but I'm going to go over, I might go over the top of it anyway later on, make it darker. But, yeah, you want to take your time with all this stuff here, just make sure you've got a nice kind of you know, gradation running down the page. And we can also mix up a bit more paint. I've got some more blue, some more green and brown that I can just sort of continue to play with. Just bring this down the page. I just wanted to make this bit a bit kind of darker. Always try to change around the values a little bit so that it's not the same color all the way through, okay? And I also really want to make sure that I'm making it quite dark around the building. Make it sort of pop out further. You only get one chance really to do this, so you got to make it count. So more darker painting here, just sort of dropping that through. Here we've got the rooftop. It really helps to have a little round brush like this, especially when you're working on a small small bit of paper like I usually do. There we go. We can go a bit quicker now on this right hand side. Maybe a bit more darkness, too. That bit of orange should have dried off by now. And let's just finish this little area in the corner there. Okay. Good. That looks decent. I'm just going to continue on to the right hand side now. And as you can see here in the background, it's all starting to melt in nicely. So take your time with this and just, you know, bring this kind of cooler color through. Okay. Remember, these sort of mountains in the back have a slightly cool slightly sort of cool look to them. If there's any parts that look a bit funny, I always try to sort of yeah, doll them off a bit here and there, shift that paint around so that it will dry better, especially while the paint is still wet here, you've just got so much opportunity to really do this. This is actually a bit sharper here, like a mountain right on the right hand side. Yep, so I can just get that in pretty quickly. More blue, a little bit more ultramarine blue through here. I might want to darken this off a little bit, though. Yeah, same kind of bluish value. Okay. This part is starting to dry, but I can still get in there and nail that edge quickly. This side here look I can sort of get in there as well, just to still wet this whole area. Okay. But as we move down the page, this is where we have to start being a bit careful. So I like to add in all the light colors Um, yeah, we have to make sure all the light colors are in there nicely first. But before we do, just, you know, still kind of reassessing this area up here, you know, you're looking at it and saying, is that enough? Does that look okay? You know, so I think that looks right to me. Some of this stuff could be softened a little like that. Here and there. But I will actually work on that later in a secondary wash just sort of to alter some of that stuff back there. But it kind of looks like, you can sort of see the effect maybe of the clouds there in the background. Another thing you can do is just sort of spray the page in some areas, like, for example, up here, give it a bit of a spray, and it will now kind of encourage that area to re wet. Then, you know, I can pick up the same where is it my mop brush. You know, I can pick up some gray, bit of gray and sort of feather a bit of this in as well. So in some parts, it's a bit here, maybe. Sell here so that it's not the same color all the way through. Okay. But at the end of the day, you know, a lot of this, we're going to lift off a bit as well, you know, with some yeah, lift off a little bit right at the end, okay? But just a bit of gray in the sky, I think, is going to give it more depth, give it more make it look more convincing, in my opinion. I didn't want that, actually. Just let me move this around. This can be maybe a larger cloud or something up here. Okay. I want to try to keep that sky as light as possible, though. So just be careful with that. Some sharper bits up the top is fine, as well. Okay. So moving down the page, I'm going to mix up some green, okay, with a bit of yellow. I've got some Indian yellow here. Okay? This is going to create really kind of you know, vibrant greens in here. Now, the flowers, I'm not going to worry about yet. We'll get them in right at the end with some guash. I think doing it this way is going to, I think doing it this way is going to be better. Okay? So we're going to see the edge of where the mountains start in the background. I'm just kind of touching onto the edge, and this should kind of combine a little bit. Should combine a little bit, but not too much as well. So there's still a bit of a, there's still a bit of a you know, separation between that. So yeah, there's the bottom of the house there. Okay? Let's go across some more here. There we are. This is all going to mix nicely. Don't worry too much about this stuff to the left here. I go to go down. And with this paint, I'm going to just continue to sort of continue to work my way downwards. I've got other types of greens as well, so I can mix that through. Just make sure I've got enough of that yellow in this section as well for Yep. Here we go. And you can see this area is kind of like a darker green here. So you can feather in some darker bits of green, too. So it look more over here to the left. Let's just continue down the page. Got a bit of a bloom there. I can just go over it. That's fine. Move this wash down. I reckon I'll switch to the mop brush. It's just gonna be maybe a little bit quicker. Maybe put a bit of light here now. So, you know, I'm just going to use less paint. Maybe some yellow. Let's drop some more of this Indian yellow in here. Drop that in nicely. Yep. I want to let some of this just sort of run as well, hopefully, to create some interesting effects. Okay, let's grab some more green. Move this through. The way down to the bottom of the page. Cape. And like I said, before I really want to put in some type of darker shape running across the bottom of the scene. So I reckon I'm just going to use a bit of the same value that I had before, maybe just some blue, bit of brown, and some green mixed in there. Maybe more blue. Oops, too much. Green and there we go. That's gonna create a nice sort of shadow color just down the base here. Okay. And this is going to help to separate out the midground from the rest of the scene from the foreground. So, yep, kind of important to make sure you're leaving in all those darker shapes as well. It's not just lighter shapes, I mean, here, so it's not just the darkness that kind of overwhelms everything afterwards. It's also helpful to maybe put in a shape of something that's, you know, something could be casting that shadow. And I know that we were looking at putting in a tree to the left some kind of mountainous shape here. So I'm going to do that with a This is a kind of combination. It's like a rigor brush, but it's also a large sort of round brush as well. So I'm going to use that as well so I can maybe get in some shapes, some tree shapes running through here. This is not in the reference photo, but I want to put this in to kind of give the scene a bit more interest. And also, you've got a bush or something here, which I can just sort of put in quickly there, just make that go nice and easily in like that. And then I can sort of get a bit of this shadow maybe running to the right as well to indicate, you know, some detail that may or may not be there. Okay. I think it's a little bit tricky this scene because, you know, there's so much detail in the reference photo. But in terms of our actual watercolors, we need to make sure some of those details come through. Okay, good. I think I thought about putting another one in somewhere here. The more random I make these, the better just to, you know, All right. I'm going to let this dry for a bit, but, um, a little fiilbet brush, or you can use a round brush for this as well. And what you can do is sort of use this brush, pick up some clean water and just sort of rub onto areas to help bring out the light. So it's really just it's really just water, clean water. And you're kind of just brushing on onto the edges of some spots where you might want to indicate, like a blend between the clouds in the background and and this mountain is well back there. So it helps just bring back a little of the white of the paper. There are some white of the paper left on here, but there's also a lot of mixtures of things as well. So it's just a good little trick. I suppose that bit sticks out too much. I can kind of erase it a little like that. Okay. And it's just bringing back a little bit of, I guess, white in the sky. Not really gonna be able to recover the white of the paper, but yeah, just a little bit of something in there. So kind of go through and just lift off some parts as well, in this mess like that. Okay. I might pick up a little bit of green and just see if I can feather some smaller details in here and there. Yep. Good. I reckon what we'll do is just we'll, we'll dry it off. We'll drive it off first. 81. Norway Landscape Finishing: Okay, so next step, I'm going to start actually working on the house a little bit, and for that, I'll need a small round brush. Okay. One thing I want to do is just make sure I kind of dull down the rooftop a little bit. It looks too, it sort of looks too stark against the sky. So a bit of pains gray in there, and probably about 10% pains gray, the rest of it water. Let's just give it a try. See what that looks like. That looks okay. It just has to be lighter than the background. So let's get that in. Here. Background should be nice and dry so this doesn't go into the background. Bring this down here, around the edges. Okay, and then here that chimney in the right side of it anyway, like that. I'm just looking at that and then trying to decide if that's dark enough. Don't think so I need to make it a little darker, put some stuff in there, more of that. Okay, a little bit more. Um, this little bit here needs to be dark, as well. You know, secondary should probably get another wash in there over the top once I'm done the whole with the lot. Um. Okay, that's looking that is looking decent. So really dark paint. I'm gonna pick up some of this pains gray. And let's see what I can do. I reckon I can just start working a bit on this part of the roof in there. So sort of spread a little bit. I didn't want that, but yeah, it's okay. Underneath here, there would be a bit of darkness. Well, back there, you know, on top of this chimney, some bits and pieces of detail. Type of look, maybe some windows. Okay. Just a few brushstrokes hopefully can imply that like that so that I'm not over detailing everything. Some of the frames as well kind of have a bit of something going on there. Yeah. It makes up a little shadow color. Just really I don't know. I think I just want to make it look like there's more of a kind of shadow here underneath, so here, for example, on the side of the house, underneath these parts as well. Lo there. Plus you have these sort of vertical strips running along the building to indicate the these little planks of wood running across like that. All right. We do it on this side as well. I've gotten to put in the window there, just quickly do it. Oops. Can't quite see it there anyway, but there is a window there. So more of these verticals running down like this. Good basic sort of verticals. Don't want there to be too much attention. Darkened the roof just a little bit more. Feel like it just needs a little bit more color in there. You can drop in a bit of darker value in areas as well to just, you know, vary it up a bit. In this building here to the right, you know, I think I'll just, let's just get it all in in just one quick thing like this. Okay. I'm gonna give this, um, I'm going to pick up some green that's left on the page on the palette, just a little bit of green with this fan brush. And all I'm going to do is just start to feather in a bit of this through the scene. And some of it may go near to the house. That's fine. There's more important down the bottom, I'd say, but this kind of makes this area look more textured and detailed, which I think is important. Darker strands at the base, and you can make them a bit longer as well to imply depth All right, so I'm going to grab out the bottle of guash that I have, and I'm going to just start to play around with some of this lighter stuff that we have in here, okay? So the first thing we have is basically all these little tiny little flowers, and I'm mixing a bit of guash with yellow to create a creamy sort of yellow color. Let's drop some of this in. So you can see it all kind of across the back there, just tiny little specs. And the quick way to do this, honestly, is just to pick up another brush and then hit it on the paper like this. And this will create these little droplets of paint that will look a bit like little flowers, basically. But you really have to be careful you see. It's kind of going up further. So if you've got another bit of art like I do, you can sort of stop right there and then continue. It's messy kind of work as well. It definitely goes all over the place. But to tell you what, it does the trick a lot faster than if you were to do this manually. And some of this I'm going to have to do manually anyway. But as much as I can, I will try to get this in with this technique. See a lot of this stuff. A lot of these flowers kind of concentrated in certain areas as well, so you're just trying to use that same technique to sort of hit around to create these little Areas of high concentrated flowers, I suppose, yeah. In the foreground, you've got really larger ones that you can't do this technique for as well. So I just sort of pop the brush in there, and then I'll indicate, you know, some larger flowers, that kind of thing here. It doesn't take too much, really, a bit of scumbling. And you want to also create a section here where you've got, like, mid sized flowers in the center as well, so that it's not all suddenly you've got these bigger ones here down the front, then that's it. So there's kind of got to be a it you know, progression, I suppose, you say, little progression, sort of go all the way down the bottom as well. Some smaller ones down the bottom. Okay, maybe some here. You know, there's some other ones in the center. It's difficult to make sure that you're not over exaggerating some of this stuff as well. Let's have a look at the top of the scene. That looks okay. It's kind of fitting in. Um, Okay. But notice how quick that all happened very, very quickly. I want to get some at the base of this house. I'm going to have to just do this manually in some parts of the house, like here, so you can see just kind of it's like a stippling sort of effect, you could call it. So near the edge, the kind of horizon line there, I'm going to put in a few, you know, intentional marks. And this is blending, helps to blend these flowers in the back and, you know, into the you know, sort of look like they're carrying forwards, as well. The house sort of brings that house out a bit more, as well. You can see some parts. It sort of helps to, yeah, distinguish the sky from the Earth. I might just do that same technique again in that area. It's just it will look better if I do it this way. In some parts, it's just too time consuming to do it one by one, a bit here as well, maybe in the edges. Okay And you can grab out another brush and draw the paint the stems of these in as well. So I got a smaller round brush here. Well, it's a rigger. Really, it's a rigger brush. And let's see. Maybe I can get in a few. Need more water on that brush. There we go. Just some darker stems for some of them. Especially here in the foreground where things are quite abstract and closer as well, you just want to make sure that there's enough detail to imply what you've put in there to begin with. Okay, this little rigor is kind of like a lifesaver to me. I can put in just little minute sort of bits of detail that will look like something. Bit more green in there. These look too dark. These stems look too dark, just a bit more green for ones that are kind of in the midground here. Yeah, just some more of this. You see with watercolors, there's so much little tiny little detailing work, bits of detailing work and parts that you see that kind of overlap, you know? So you've got to make sure you have that kind of all those different washers and areas that things overlap. Otherwise, it looks flat. To finish it off, I'm going to again go back to the guash. And a small round brush. And I'm going to just put on some final kind of highlights I think would be good. I reckon on the house, mainly, that's what we'll focus on. So yeah, just a bit of white guash here. Drop off the brush. Let's have a look. What can we do? Maybe here? A rooftop there and this little edge there like that, and a bit here perhaps. Here, implying that light source coming from the left. It's a very subtle light source, so you can't see it all so well. I want to outline the side of the building with a bit of white as well. So. In the frames of the window, of course, this is a tricky one. Yep. In parts, I can just sharpen up this detail. The little bits of detailing work to help bring everything together because these white kind of frames are very, you know, very characteristic. Another maybe a bit of white coming down here as well, again to maybe bring out just draw out the house a bit better. So All right, then we are finished. 82. Icelandic House Drawing: Okay, we're going to go ahead and start on the drawing for this scene, and this is a photo that I took on the eastern coast of Iceland. And let's first start off with the Horizon line or basically just the line underneath the mountains. And I'm just going to draw a line separating the page into half. And this is going to form the basis of the mountains, the base of the mountains, and then where pretty much all the land and the green and stuff like that starts. So really important to get this one in correct. And, you know, we've got a lot of these mountains in the background. And for the most part, there's not a whole lot of painting to be done. You know, there's a lot of white in there, which we'll leave out till later. But there's also some cooler sort of values in there, which we need to get in as well. So I'm just going to start drawing in some of these mountains, and let's not be too fussed about how they appear exactly, okay? I just want to make sure that I'm leaving you know, just a bit of sky, okay? Just a little bit of sky there, and going across, you know, there's tip there, then we're going to go the way down there. So that's just basically. I mean, a lot of the you know, there's some little detailings in there as well, but I'll just drag my pencil around just to kind of indicate perhaps a shadow or something coming across like that. That can be sort of a shadow area. Some of this stuff can also be in shadow as well here, okay? And some kind of lines running down the page. It's not a huge deal. We'll figure it out later once we actually get into the painting. Okay. But for the time being, I just want to put in some indication of these shadows running towards the right hand side like this and Yeah, so I'm not flying blind a bit later, okay? The mountains are pretty much done. Now the next thing we need to do is work on this house, and you can leave the house around the same size or you can make it a bit bigger or smaller. Now, what I would like to do normally is sort of start off by putting in kind of the three points of the triangle here, okay? And this kind of helps if you're maybe not, you know, maybe you're starting out drawing and it's not maybe getting a little bit of confidence in terms of, you know, drawing straight lines. That just really takes off that edge, so makes it a lot easier. And let's just draw this side of the roof in like that. Okay? Just to make it look a bit three dimensional. Okay? There is a bit of that roof to the right there that's going to be darker. And we've also got this chimney on top, and I'm going to just put in the chimney is this kind of rectangular shape, and it's actually a bit more complicated than this, but I want to just simplify this down, okay? Some sort of chimney on top. Like that. Okay. Now, here comes the bottom part of this house, so it kind of comes down like that. Left side here. Alright. And then the base across the bottom like this. Alright. Got the base, and, of course, we've got the side of the house in. You really need to get that in. This will make it look a bit more three dimensional once we have everything yeah, once we have all the shadows here now, there is a little shadow here on the edge as, well, what I'm going to just pencil in roughly, right, so that I don't have to think too much after. I mean, apart from that, the rest of this is, you know, we've got a door here. Okay? There's some steps running down. Again, this is not huge in terms of, you know, in terms of trying to get in the detail for this stuff, you don't have to be perfect, okay? As long as you've got a way to imply that there are some steps running across here. Maybe a little bit of light coming up on top of that entrance. Then we've also got the door here like that. Door like this. What else do we have? We've also got some windows, so, you know, let's put in a square or something in there. We can put in another one here. Rectangular, actually, another rectangle here. And there's some kind of shape up the top there like that and couple down the bottom. That one around here. Okay. Next to that. Railing. There's some details over here as well, it's not a big deal really what you've got in there, in my opinion, just as long as you've got some shapes, actually, it looks like there's a fountain here. I'm not going to bother too much with that, okay? So that's the kind of basic, I guess, shape of the house. I might tidy up that rooftop just a little bit more to make it perhaps a little bit thinner, like that. And just having a look how things are just raise of this little section. Okay, so once you're happy with the house, I think you just look, just leave it. It doesn't have to be perfect. Okay. So let's go from here. What else do we have? I think the rest of it is quite abstract, okay? But we still need to mark out areas where we want to separate light from dark. Now, here where that roof is, you see this sort of zone where everything starts to get a bit darker. And there's probably there's probably a mountain to the left side of the scene that is causing that area to be darker. So let's come in. Underneath here as well. Okay, just a quick indication, okay? Not a big deal, but just something like that. Okay? That's going to be like an area of darkness. And then, you know, you've got some of this other shadow running into the left like this. As well. And the shadow of this house, which is actually so crucial to this scene, you can see the shadow just coming across these sort of rolling I don't know what they are. They're not hills, but sort of elevated bits of land, and then running to the right hand side, actually, that hill now is then casting a shadow, okay? And it's this opposition of light and dark areas that's really going to make the scene look quite interesting, okay? So that's what I'm doing here. I'm just outlining some areas of potential shadow. Okay. But apart from that, we don't have all that much else to put in. I don't know what this is, but it looks like there's a mound of rocks or something like that here. And I'm going to just pencil in some little indications of some of these these rocks here. It's all I'm going to do, okay? All right, now, next to the house, you can see some little power lines or whatever in the distance. And you can put pencil in if you want. I'm undecided as to whether I'm going to put them in. But let's just try that anyway. On this hill as well, you notice there is actually a I don't know what it is. I think it's like a flag post or something, yeah. So I'll draw that in. And again, whether I'm going to include that in the painting afterwards, we'll see. 83. Icelandic House Painting: So let's get started with the painting, and what we want to do first is go through with a light wash for pretty much everything, okay? But I want to work a bit on, firstly, the sky. And on the day it was actually quite a overcast day. And I took this photo as the sun came out behind the clouds. I only had about ten, 15 seconds. So the sky actually looks a little bit cloudy, but you've still got a ton of this sunlight. And I like that contrast. So I'm going to go ahead and pick up maybe a bluish, purplish hue for the sky and you know, I still want to make it have maybe a bit of serlem in there as well. Okay? But I'm just trying to dull this down by mixing in a bit of leftover gray on the palette, okay? And you want to keep this so light in the sky, okay? I'm just going to go through and paint the sky pretty much in one go. It's like a purplish, just a purplish hue. This papers really soaking up a lot of this paint. Okay. And with this paint, as well, I'm using about maybe 5% 10% concentration of paint, and the rest of it is just water. So you're mostly using water here. Okay. And my aim is to get quite a nice even wash for that. And then what I like to do is maybe pick up some darker paint and drop it in some areas like here, maybe here. I could pick up a little bit of cerulean blue and then just start working parts of that cerulian through the painting as well, introducing bits of color here and there. Okay. But I always start off with a very light wash before introducing some of these extra colors, okay? Pretty simple like that. I don't want to do anything else with all those colors. Now, let's move downwards further down the page. And firstly, sort of got to figure out what do we notice in these mountains? Well, here, for example, the mountains really just blend into the sky. They're around the same look to me about the same color as the sky, okay? Because you've got these low hanging clouds. So I'm going to pick up a bit of blueish color and that same kind of purplish hue that I had back there, and I'm just going to drop that in there, a bit of cerulean blue and a bit of that purplish hue, okay? At this point, I'm not really thinking about what I'm actually painting. I'm just trying to approximate the value that I'm seeing. So whether something is light or dark, I'm just trying to get in some of the darkness, okay? And leave out really make an effort to leave out the white, some parts of the white. Okay. And on this side of the mountain, you see that there's actually quite a stark contrast here. So I'm going to go in there and just make that really little bit darker there in the background that so that we've got this kind of light of the mountain. Pick up a bit more of that blue. Sometimes I'll mix in some ultramarine, as well, ultramarine, plus cerulean blue, plus a little bit of that purple and gray to dull it down a bit. Okay? But it's quite a bluish value that I'm going to get in here. Very cool value. Okay. Let's try that here on this side of the Mountain, sort of air of the mountain. And using the edge of my brush to just shift this paint around. Not really Again, not really focused too much on the exact details of what is going on in here, okay? Being very careful also to just cut around that house. I got a bit of stray paint from something or another back there, but it doesn't matter. I think part of that green that I had before just kind of mixed in there. But yeah, going through and I'm just doing this sort of shadow, these tiny little fishes and things in the ice that you see around the mountains. You know, here as well, there is some there's actually a shadow a bit to the right of this mountain. So I'm going to just mix up some more paint and emphasize this more that. There we are. Good, like that. Bit of that shadow. Okay, mop that up a tiny bit it might dry too dark. And same here just going across and getting in some of these kind of darker spots in here. And when you drag the brush over the surface of the paper very quickly, you find you get this kind of effect where the white of the paper gets left behind anyway. So yeah, you want to do this quickly, but also intentionally. So, seeing the fissures of the ice here, you can kind of, you know, blend that downwards and create some little patterns. But really, you want to just yeah, re leave in a lot of that previous color. White of the paper. And here we are kind of going around the top of the house. And this is important because I need to cut around that house a little bit. Okay. The way I framed this photo, as well, is so that shadow of the mountain in the back coincides with the house so that you've basically got an area of contrast. So I'm trying to replicate that in a way in this scene. Okay. And at the moment, it looks a bit funny because, yeah, we don't have all the elements in. But I think for the background, that's a pretty good start. I think that's going to be a decent little yeah, decent little start. We can go in later. And what I like to do is add in a second kind of layer because there are some darker bits of these mountains as well in the back. But let's move downwards. And I'm going to again use that same base color that we had of this bluish purplish color. I'm going to start just darkening this area more. Now, I also have some neutral tint, basically just like a pre mixed gray. You can mix up. You can mix this color up yourself very easily just by combining your three primaries. Okay? I'm just trying to create this sharp edge here where we've got, again, that contrast, that darkness that runs behind the house. Again, I'm just really taking care to cut around the roof of that house like that. Going down, preserving the light in that house is so important. And it just means you have to avoid painting it. Okay? Here, that's all we do just cut around it, and again, just go along and it's not really, you know, 100% this color. There's some lighter bits in there, but just to simplify it, I'm going to just keep it this same value all the way across to the right. Okay. That's a dark bit of the painting. Okay. And what I want to do is also make it blend a little bit further down into the rest of the scene. So I've got a darker green here. Now, you can use any type of dark green. You can use hookers green. You can use emerald green. I'm using a color called unsea green, which is, again, a darker green, but you can just, of course, mix up your own greens, too. And this is, like, a point where you can see, like a darker green that combines a little bit with that color in the background there, okay? That kind of moves forward like this. Okay? Good. And let's bring some of this green further down here. Right? Notice some of the greens are actually pretty vibrant, as well. There's some, if you look here, just some really vibrant greens. That Notice there's like a little house there. I'm going to just I'm going to exclude that house or the roof of a house in the distance and just continue on with this green. I've added in a little bit of of a bright yellow, a hansa yellow. And I've done this just to brighten up that green, give it a more lighter sort of color. I across down here. Okay? And there's also yellows running through there as well. So, you know, I have a bit of yellow ochre. This is a great little color also to use in conjunction with your greens. And notice how I'm letting everything combined together like this to hopefully create the illusion of a kind of grassy area. Lots of grass, lots of grass in Iceland, not many trees at all. The trees that do exist are planted by people. And of course, there's some native ones as well, but they just don't grow very tall. But yeah, I'm going to blend this down down the page, and I've still got this yellow. I'm going to put in a bit of yellow here because I've noticed these shrubs here are kind of a yellowish color here, right? So let's, let's get in some of that yellow. And the difficulty is if you put in that yellow too late afterwards, it will then it will turn to green. So you want to do it all now while you can. Okay, 'cause actually in the front, I do see there's a lot of yellows and stuff happening. All right. So let's just do that. Okay? Now I've done it slow enough so that you can see the blending in that background all the way down to this warmer yellow color. All right. And this is when you can start now going in and adding in some greens. And also notice I haven't put in all of the I haven't colored in everything. There's some whites on the paper as well. I'd like to leave some whites here and there, okay? And one thing I really like to do is carry around a little pocket knife, and this helps me sort of scratch out some tiny little gradations, little bits of highlights here and there. So I'm going to get this ready. You can use a credit card. That works as well. Anything sort of sharp will do the trick quite well. And, you know, if you notice looking all around, there's actually quite a lot of shadows already in here. Yeah, there's some lighter shadows, there's some darker shadows. But I'm going to continue putting in some of these darker green bits here and there, 'cause remember the sheet of paper, it's still kind of wet. And if it ever starts drying off before you're ready, you can use a little spray bottle like this. Just give it a quick sprits like that, and that will just allow you to continue working without it creating any sharp sort of marks. Okay. And especially over this side, I've noticed there's, there's just some darker areas here that I want to imply, of course, some darker shadows like that. And I think having it wet and wet will just look better. So I'm going to just do this, drop that in there. What else do we have there? We've got this sort of thing here. Um, Yeah. The shadows are actually sharp, like, really sharp sort of shadows. Um, some of this I'll probably have to redo later anyway. But, yeah, I just want to put in a bit of that some softer shadows. I think having a combination of soft and sharp shadows will make the painting look more interesting once we're done. This area in the back I've noticed has kind of faded off a bit. So I'm going back in there and just dropping in some more of this paint. Bit of darker paint here and there, and I'm using a brush called a fan brrush. You don't have to use this, but for me, it just makes it easier to create textures and imply maybe some shrubs, that kind of thing. 84. Icelandic House Finishing: I'm going to put in a bit of this titanium white and mixing in a bit of titanium white with yellow ochre. And this is just a way for me to get in a bit of these sort of shrubs, like a bit of grass running through the foreground, like that. Sometimes adding more water will cause an area to bloom a little bit, which is really what I want. I want this area to have some contrast with all these kind of darker values to the right, okay? Not too much, but just enough to imply that here and there. It is possible to overdo this. Yeah. Just a bit of yellow running through that is good. Okay, so this is all just going to blend in nicely and create a little contrast where, yeah, I need that Okay, here and there, there, you know, and this will slowly blend off nicely, so it's not a big deal. Okay. So while this is doing its thing, I'm going to start on the house. There's not really much I need to do with it. I'm going to use a smaller brush and just color, basically color it in. So yeah, it is it's not completely white. It's kind of like an off white color, which I think this color would be perfect. It's just a bit of titanium white mixed in with a touch of yellow. Okay. So I'm just going to go over the top of this just to take the edge off take the edge off this, um, house a bit. Say bit of premix painting there. I didn't want that, but, uh, just redo that bit more yellow, more on the warmer side, like that. Yep. Really light wash, okay? Yeah, you don't want to overdo this one at all. You want to just preserve that white that you see Okay. Yep. It's kind of like an off white color, which is what I was aiming for, okay? I think that's pretty much it. That's all I need I wanted to do with this house. I want it to just be a little bit more lighter, and you can pick up a tissue and just kind of dab it onto the page. And this will help to release lift off a bit of color if you think you've done too much. And back here, which is what I was mentioning before, is like these little, you know, areas where you can just scratch off some paint like that with a pocket knife or just a small blade or something like that. And look at this. You can create these little marks on the page where you've got bits of grass or what have you. And you've got to time it in a way so that yeah, as drying off. Parts of the scene are drying off, okay? It's almost to the point where I'm ready to put in some of those darker shadows and shapes because I want the paper to still be a little damp when I do this. Okay. These little shrubs and things here in the foreground. I just want to scratch out some small details here and there. This is gonna make it look more interesting. It takes a bit of time. But I find doing textures in watercolors to be quite tricky because you're working essentially on a flat surface. You can't add volume to your paint. You just have to imply texture. But this actually creates a little bit of texture, which is fantastic. I've got a flat brush here and I'm going to be using the flat brush to create these last finishing shadows, okay? And I've got a really dark color. This is, like, a pains gray mixing a bit of purple in there, a bit of pain's gray, purple, maybe a bit of ultramarine. Now, the paper is mostly dry, but there's still a bit of paint in there, and this is going to a little bit of wetness in there. This is going to help to create this sort of soft feeling, okay, so that the shadows not too harsh, okay? Bringing that across like that. I really like this. I didn't expect that to happen, but there is a bit of kind of granulation to the paint, and that's kind of running across. So let's just bring that shadow across from the house there, connecting that on like that from the house. It's very important to connect all your shapes. And when you've got a large shadow like this running to the right hand side of the scene, I think it's really important, to make sure that you've also got some type of darker shape on the left side. So let's go in. I want to make sure that this shadow on the right is done all in one go. And always refer back to that reference photo and think to yourself, Is this what I want? You know, I'm leaving out you know, I'm leaving out a bit of paint here and there. I'm just going to spray this area it a little bit here. And the reason why is just so that I can, again, do this shadow a bit more wet into wet. And I want that shadow to run to the right hand side of the scene like this, okay? And I want it to be really dark once we get to the right hand side, once we're here, fantastic. The trick here is leaving out some of those uh, some of those light areas. Okay? When I'm using a flat brush as well, I'm going in such, you know, in such broad strokes that it really forces me not to overthink certain things. So there there's also something here in the front of the scene. We just like a bit of darkness rocks. There's some rocks here as well, you know, I can just put in with a few quick brush strokes there. Try not to make all of them look the same, like that. There, what else do we have? Sort of marks out start of this mound. There, maybe a shadow running to the right like this. Even on here, there's some little bits and pieces. And yeah, if you spray the page, like I said before, it will just help to distribute that paint better. If you think you've gone a bit too far, spray that page again, running out of water, but we should be able to get this done in a few little brushstrokes. Two maybe a quick sprits to the left, but more of that purplish gray color here. And this is like I was saying, it's going to help to balance out the shadows to the right. Um, like this. I can see the shadows running in. Oops, that went too far, but that's not a big issue for me. Continue on. I touches the house, the side of the house like that. Funny enough. Kate. Good. Good. So yeah, got a good combination of shadows in there. I just want to darken again this area off the back, which I think I've lost some contrast again. So go back in there, darken off some area back there. Um, good. Maybe a bit here as well. In the mountains, I can see there's some little kind of, like, rocks and things which I can just dry off my brush, and I'm using that same paint. And I'm just dragging the brush over the surface of the paper. And this works much better if you've got kind of rough Watercolor paper or if you've got medium textured coal press at watercolor paper, you can now start putting in these darker textures of the rocks. There are some in the background as well, but they're actually quite faint. I can maybe just imply that using the same technique here, here and there, uh. Okay. No to overdo it. Let's have a look. Some of these ones here, there's some bits of rock, you can see just running underneath like that. They're darker bits of rock in parts. Okay. And I'll just continue scratching off a bit of paint from some of these areas below. Uh, to kind of help combine these grassy areas onto the darker bits. The reading texture. This is always good fun. Like doing this. Maybe you have it. This part, especially it's dried off nicely, so I can scratch off a few longer strands. Tiny little things like this, they'll make a difference once you're done because again, the textures are very difficult to get in with watercolors and I find this is one of the few ways that you can actually imply texture. Okay. I'm going to work a bit on the house now, some finishing touches and almost there. So bit of darker color here going to coloring the roof, adding a bit of darkness to the edge of that roof there. Okay. That. The right hand side of the roof is also very dark. So I can just again, color that in almost black like that. Okay. Maybe bring this part of the roof down a bit there just so that it matches. And yeah, we've got these little windows. These little windows, and I thought to myself, why not put in maybe, like, a touch of coolness in there, just a bit of cerulean blue, just to indicate that perhaps it's reflecting some light from the sky. I put in just touch here and there. I'll have to wait for this to dry a little bit as well just in case. Yeah, while that's happening, I can actually still work on the right hand side of the building, which I'm going to use that same color, actually, that kind of cooler purplesh color, give you a blue, better bluish purplish color there for the shadow section like that. Okay. Whole right hand side of the building just needs to be obviously in shadow. Yep. Okay. Touching the ground. Kate. That's the right hand side of the building. I'm just trying to straighten it up a little bit. But there's just really not much going on here in this scene besides a lot of abstract shapes. This stuff makes a big difference. So you just have to be you just have to be pretty careful and make sure that the shadows that are on the building, you know, you're paying attention. And here's another example this shadow here on the top part of the building. You really need to get that one in as well. Same value, same color, just underneath here. Where is it going? It's kind of just running underneath the roof. Like that area. Sharp shadow as well, cutting across cutting across some of the windows, like that. Okay. It's looking right. It's looking right. Now, these areas should have almost dried or if not already dried, so it's time to just put in some darker values around the windows to just shape those windows a bit. I got a little round brush, makes it easier to do this. And here we are. Oops. That hasn't completely dried yet. That's right. But let's try this one up the top here. And if you can do this in just a few strokes, this is going to look better. Okay. And even with some broken edges as well. Yeah. Okay, so just these frames of the windows, tiny details like that, okay, to bring out the yeah, just the details of the door better. You know, even this door, it's not really, it's actually just almost one color there. This window, now I can just go in and get in the rest of it, okay? It's just the frames of the window like that. There's some of these little bits and pieces down the bottom of the building. I don't know what they are, but it doesn't matter. Just a bit of color there will help. Um, another thing I want to do is just add some shadow running here, like the railing. Uh, yeah, so leave just again, just take out a bit of that same bluish color, bluish value, add some there, join some of this also onto the right hand side of the building. Um, That actually, this part of the center is a little bit darker. I'll go over that in a moment after everything's dried. Okay, just a bit of extra darkness for these steps. In here. Not a big deal, but just a bit of darkness under there. Great. Another shape to the left, like a pot plant or something. Okay. And, uh, yeah, the chimneys almost pretty much done. I just want to put in a bit of shadow across the edge of that chimney like that, and maybe a bit underneath the top part here that Yep. Okay, so I'm finishing touches. I've got some white paint here. You can use white guash, titanium white in watercolor. That does the trick, as well. And I'm just going to put in these finishing touches like this pole here, whatever it is, that's just kind of disappeared off. So yeah, if I can kind of put in indication of something there, that will help. Okay. Where does that actually start like somewhere here? I don't even know what that is, but it looks like a flagpole or something like that. You know, there was some type of fountain there. You can also do things like just add in a touch of white in areas where you think there might be a bit of light just hitting the edge of, you know, hitting the edge of the roof or the window or something like that. Again, these are those power lines or whatever off in the distance, and I just imply them, but I don't really need to do much. Another thing you can do as well is just sort of fix up and play around with these mountains there in the background. So I just want to recover or vary some of this stuff a bit, okay? And that's it. 85. Budakirkja Drawing: Okay, let's get started with this scene. So I'm going to draw a line roughly around a third of the way from the top of the paper. So if we divide this scene into thirds like this, I'm going to draw a line roughly in the first third. All right. Right. Doesn't have to be completely straight. Something like that. That's really important because this is where we're going to show the mountains in the background and show the separation between the sky, especially the sky and the ground. So now I'll just start working here to put in a brief indication of this path that runs through the center of the scene out, and then comes out to the bottom here. Okay? Again, it's not perfect, but it's just something to get started with so far. Okay. And, yeah, it's kind of mountain, not mounting but like a bit of a hill here. This whole area is really just hilly. So there to the left, and there's shrubs and stuff running up here. More shrubs and things here. A lot of this we can put in later. There is also these kind of rocky areas with moss growing on the rocks. So I'm going to just draw in shape of this rock like that. Doesn't have to be perfect, but there we go. That's a rock there. We go and get another rock here to the right like that. Another one there, another one here. And this is the site of an old church building and cemetery. I think this is on the northwest side of Iceland. And a lot of people come here and take photos in front of the church. And behind where this lady is walking, you basically got a big cliff and large overhang. So let's start putting in the person here walking, S wearing a beanie. And the jacket like this here and comes down and then the bottom of the jacket there and make it a little bit larger so that she is closer to the camera. And then the arms just sort of coming out like this, right? Okay? It's not perfect, but just enough to indicate the silhouette of a person walking and, uh there we go. And the legs just one leg here out. And the other leg again, like here. So it's not really too much detail, but there's enough to go by. I'm going to put in a bit of a shadow running to the right, as well that just to keep things consistent. Okay. All right. And there is a kind of hill more rocks here. I'm just going to indicate this dark section there will just be separated out a bit from the yellowish not sand, the yellowish shrubs. Running across. And this church here in the background. This is going to be really important. How large I want to make this church really thinking about this probably around the same size, if not just a little bit larger base of the church, kind of this rectangular shape, and then you've got the rooftop here, that rooftop. A triangular shape there. Okay, coming down, there we go. And then we have got this part of the church, kind of the tower area, that that's all we need to indicate a church the background of maybe a little indication. Let me have a look at the reference photo. There is a little crucifix on top, as well, so we can maybe just indicate it like that. And there's actually a wall here running next to the church, and there is a cemetery, and you can see all the tombstones well behind. And I'm going to just draw in this rock wall. I actually runs all across and walls the church in on that side. That runs all the way across and kind of dips down a little bit around this area. And then you can see there's a section here that kind of goes up there that Okay. Fantastic. And I'll just put some like the door indications of these tombstones in the background. And at the time, you know, it felt really quite nice. They didn't feel eerie or anything like that. It's quite a peaceful sort of area. And it's got these windows as well, sort white windows. I'm just gonna pencil these in roughly where they are. The windows. There's also a couple here like that. And, of course, this mountain here in the background is so important, go to just put in the silhouette of this mountain. I think this is going to be really nice finishing touch near the end. That kind of just cuts behind the the church goes back up. This appears a bit here actually, because of the fog. But, you know, I think that's a pretty good pretty good start. I'm not too happy with the shape of this figure, but I think that's going to be good enough for us to get started. 86. Budakirkja Painting: So let's start with a light wash of color. Now, this was an overcast day. And yeah, basically, as you can see, the sky was really quite moody, which I like. I think this is going to be great for watercolors. But I took this photo just as the sun was peeking behind peeking out of the clouds. So I really get the best of both worlds here with this nice moody sky, atmospheric looking sky. And and of course, the light. So more cerulean in the sky. I don't want it to be too purplish, but it's kind of like a purplish blue with mostly ceruleian in there. I still undecided what color exactly I'm going to make the church, but I'll probably use a very dull, subdued down color as well. Uh Yep. Going around these mountains, okay? The aim here is just to get in a nice wash for the sky and keeping it fairly light, as well. I mean, I'm using about 10% paint. But bearing the concentration of the paints, well, on the right hand side, you see, I've used a little bit more paint. Now on the left hand side, I'm using less paint. This is just perhaps I can create a contrast. So even here, I want to just darken around the church to try to make it come out more, stick out of the page more. So just a creating contrast like this that just helps. Okay? But yeah, you know, you've got some areas where it's a little misty looking. You got a cloud running through here maybe, and then the rest of it's kind of like this Nice misty color. Okay. This area of the mountains here. Okay, so for the rest of these mountains, I'm going to have to wait for it to the sky wash to dry a little bit first before I kind of, uh I kind of go in. Okay. But I think what I can probably do is start working a bit on this side. In fact, it might be good if we put these mountains in some sort of wet and wet. It might help to kind of push back those mountains a bit more, rather, if I go in sharp, sharper with the mountains after, I think it might be a bit too overwhelming, even though it does look nice and the photo. So yeah, I've made that decision. Let's just do it. So here I'm just gonna wet the page and bring down this wash. Touch. Yep. And, just keep it light in this area, kind of misty and light. Um do I have a bit of this squash? It's just a bit of white paint. I've dropped in there, and on the right hand side, I'm going to start bringing in a bit of darker bluish purplish color, a bit more ultramarine. Ultramarine will just give it a cooler touch like that. Okay. Good. Okay, just touch that off here a bit so that the edge of the mountain is visible. Okay. I might just soften that off later, but yeah. Now, continuing on to the left hand side, and like I said, I'm going to just do this wet into wet. So the edges of the edges of these mountains here, I'm going to just blend them in to the sky wash, so we get a bit of flurry edges, okay, but I'm still keeping I'm still keeping it pretty light. Like, that's almost too much there, but I just bring this across further, and this will dry off a little bit lighter as well. I just need to make sure that these mountains stick out of the sky. They actually look like mountains once we're done. Okay. There we are. Of course, you've got all these bits and pieces in front, which I'm going to cut around coming down to where the church is here, a bit more darkness. There's something incredibly magical about working with wet on wet. And also incredibly stressful if you haven't if you're maybe new to it, and you just have to push through it because there's a lack of control. You often can't 100% predict what's going to happen. But when it works, everything just kind of flows and it looks like the paint's just landed in the right places. So yeah, I don't know if I should leave a bit of that there to indicate some snow. You know what? I'm just going to leave that. Why not? Maybe a bit here as well. Just a bit of white at the base to indicate some snow in the mountains. It wasn't quite snowing at this stage yet, but that's gonna be enough. Okay, so let's move down the page, and I'm glad I did that because now those mountains look like they've been pushed back a bit further, and they're not going to be too much of a centerpiece of this scene. I didn't want them to stick out too much. So I'm going to grab a bit of yellow. I've got some yellow ochre. And here it's really just quite simple. I'm just going to go through the bit of yellow ochre plus some titanium white. And I'm just going to actually go and paint this whole section in with that and maybe a bit of a tiny bit of green that I have left over, as well. Like, this section here, that should be like just above where the you know, the cemetery is just a bit of green there. And hopefully it will kind of, like, join upwards, go upwards and form a nice transition, too. A lot of this is quite suggestive and not set in stone. See, that's kind of going up. Maybe a bit too much, actually, but look, I'm just going to stick with it. Continuing on, now that same yellowish color. This is what I like to do. I just like to put in a lot of the yellows first. And then once I'm done, go over the top with the green. That way, that way, I don't miss out on any parts of yellow that I accidentally top off. That can happen. The yellows often turn to greens if you're not careful. So if I get the yellows in first in just a quick swoop like this, like I said, it's just titanium white and a bit of yellow ochre. Titaniumhte and a bit of yellow ochre. That's all it is. I might actually just quickly go back in here and just add in some purple because some of this stuff has, like, run up too far, and I don't like that. But it's not a big deal. When you're mixing yellow and purple because they're complimentary colors, it kind of neutralizes them and they go very well together. So I'm not too fuss. When you fix sometimes when you try to fix things up, they turn out even worse. And in watercolors, when you're painting wet into wet, this is just something that you have to deal with. And at the end of the day, you might look back at it afterwards and you might actually like it. So I try not to get too fussy with that, even though it is So does bug me from time to time. So you've got a lot of that yellow now here. And really from this point on, we are just going to be working on feathering in more details. And I like to use, for example, a flat brush and a little fan brush. These two brushes are fantastic at implying detail and getting in shapes. Okay, so let's start off with a bit of darker green. You can mix up your own darker green, blue and yellow, that'll do it. And over here, you know, I notice there is some whatcha call it bit of this mound here, this green sort of mound comes onto the path. The path is also pretty dark. I'm going to have to fix that up later on, change that around a bit. And when you're painting wet into wet as well, try to paint the object as quickly as you can, probably not as quickly, but with as few brushstrokes as you can. Because the more you touch the paper, the more of that paint's going to start mixing in. And one thing we don't want to do is get rid of all that nice sort of yellowish, those yellow values in there. But we do need greens because there's just there's more colors in here besides yellow, okay? Bits and pieces that you can leave in, leave out. Okay, darker greens, even mix it up, use some darker greens that just use the same value all the time. Here, as well, you know, this part of the scene is it's quite dark, actually. Pick up a bit of yellow ochre, mix that in with the green, and I'm going to just start playing around with this area. Okay. Notice how I'm just sort of feathering the brush through. This whole area is pretty much, um, still wet, which helps a lot. Some more yellow as well. So darker yellow here. I've just dropped in a big loop of it running through. I'm trying to keep the colors fairly muted as well. Not too much vibrancy. And some darker greens here. Again, for that sort of shadow running across this darker bit of green running across here. There's also a really dark green area here up in the back. So I'm going to pick up I'm gonna pick up some of this darker green here, concentrated green and just go over the top of this section like that. Let's just put that in. Okay. Here we have it. It can be tricky at times to imply the light in here, but always remember that the light in this scene is actually the yellow. So I'm going to put in a bit of color now for this base area here where the person is walking. And I'm just picking up a bit of pains gray. Okay? It doesn't have to be pains gray. It can be any darker value. And while the paper is still wet, just dropping that through like this, okay? Dropping that through and continuing on there, where this person is walking. And don't worry because this is looking a bit harsh at the moment, but we're going to even this out in a moment with some shrubs and things like that running through. But I just want to indicate that there's this path because there was this path that just runs all the way to the back there. Okay. Good. So that's the part of the path done. I'm going to continue on and just again, add some more darker greens and things running through here, feathering that in. If the paper starts to dry, this is when you can pick up a little spray bottle like this and just spray on the page like that. And just continue feathering in some of the darker bits of the green. Like that. This rock as well, needs to be quite dark. So same flat brush I'm using while still preserving the previous wash of green in there. That's going to blend nicely in there, some little rocks and things that are sticking up on the right hand side. Let's just dilute this down a little bit and indicate there's some maybe a hill running here like that. There, yeah, that's better. There. It's the changing values of green that will make this work. Okay. If it gets a bit too much, just again, spray and continue on. Important that all of these colors just work together. And the different values also just combine nicely while the page, the paper is still wet. There's another something or another here, like a little rock here, maybe. You can only just see it peeking out from behind, but I'm going to indicate that a bit more bit of darkness here as well, you know, for that rock, shadow of that rock. There let's have a look. This started to just lighten off so I'm dropping in some more darker paint. Okay. I'm really trying my best to preserve as much of this light as possible, but some of this stuff just needs to be a little darker here. But with this yellow running through the center, I want to preserve that. Okay. So blended into those mountains in the background a touch, too, there. Okay. I'm going to drop in a bit of kind of indications of some creaminess, creamy sort of white colors there, but also I do realize this area needs to be a touch darker than it is already. So I'm going to just put in a bit of something like this. A bit of darker greens running through some sections. It doesn't even have to be green. You got these little bits of darkness here, just strands of What have you? Okay, a bit more darkness here. I really like how the colors are just slowly blending together. 87. Budakirkja Finishing: Now, I have this little pocket knife that I carry around when I'm painting, and you can just use this to scratch some check this out, some little lines to indicate uh, some of this grass because there's really no other way to do it. And I should have done a bit before, actually, on some of these areas while it was still wet. But this is kind of what I like to do to indicate firstly where the path is. And then off path where you might find some shrubs and things like this nice these nice little bits of grass just growing around everywhere, you know, and catching onto the light. You can only do it with this. So, I mean, you've got to be quite sparing with it, but definitely I find that it helps. You can also respray some areas like here, for example. If you think that, you want to lift off some of this other stuff here, you can do that. Yeah. The left hand side is a little bit dry. Hasn't dried yet, actually. So I can remove some of this here like that. And again, just some upward brush, upward marks that. And again, really important make them more, I guess, longer from the front. Then as you get to the back, you know, they actually become smaller and more, you know, numerous like that. Really, really does a great job indicating some light, as well, this little bit of, you know, light from the catching onto the grass. There's even a whole like a patch of grass here that's like you can see, that's just sort of got a bit of light coming off it, so let's indicate that. But again, this is like the finishing touch. You really got to make sure that the colors are in the right place first. Like, all these concentration of different colors in the right place before you attempt something like this. It's really it's just the cherry on the cake. And continuing on, maybe more here. There's just not enough variation and texture. Okay. It's gonna look better. Maybe some here. Again, it's just up to you. This is a great little great little technique. It's one of my favorite things to do, actually, to imply textures. So yeah, we've got a lot going on now. I think this is going to be good enough to sort of imply that grassiness in this scene. Now, I'm going to work on some finishing touches. So basically this church here in the background, and the wall front of the church. So let's keep this light. I'm going to pick up some grayish color, doesn't matter what it is, just some leftover bit of leftover gray for the rooftop. And I want it to be lighter as well, very light. Lighter than the lighter than the mountains, actually. And perhaps a bit of warmth in it, you know, just a touch of yellow. A little bit of yellow through there. I know it's not present in the reference photo, but I think a little warmth in that gray will make it more peeling or make it stand out. So let's just color this whole church in the rooftop, and the color in that same color. The bottom part of the churches. Again, it's sort of like a grayish, brownish color. Probably wooden construction, partially wooden construction. So just get that in that really light wash. It's only maybe, you know, 5% paint at most. Okay. Now we can while this is drying, we're going to wait for a little bit. I'm just going to start putting in some details for some of these, like, tombstones and things here in the background. I don't want to overdo it. Little small indications like that. And some of them, I just want to leave as well. And I can now start working on this wall here. Using a neutral tint, pains gray to do a lot of this stuff, Kate, because I'm not fussed at the exact color, more that we have some indication of this wall here. And always obsessing about blending in with the rest of the scene. So I've got the flat brush here and just trying to blend a bit of that green onto. Okay. Right there. Okay. I'll work on this figure a little bit as well while we're at it just gonna use some black to put in this figure and legs, again, just pretty simple one forwards. Maybe another one there. Even look like the figure may be walking towards us. It doesn't really matter, as long as we've got some indication of a person there. And I'm going to use the flat brush to also create a shadow to the right. Okay? Just pick up some dark paint, whatever it is, whatever it might be, just something here to the right hand side of the scene, and I'm going to just use my finger as well to rub out in some areas cause I want it to be really subtle. Okay. Quite subtle and leaving out a bit of light on the shoulder, for example, as well, and the face of this figure. This is kind of interesting. I didn't plan for the figure to look like sort of facing towards the camera, but I actually like this better. I could change it, but I'm going to stick with it. I'm actually going to stick with it, because I think it's yeah, looks more interesting than what I had originally. And I'll put in maybe a bit of red for the face, tiny bit of red, just diluted down so that it becomes, like, pinkish color, that? Okay. Maybe the hat, some type of beanie that she's wearing. So let's see if I can just add in some kind of indications like a beanie or whatever. That might as well go the whole mile now. There we go. Okay. Facing forwards again. No problem. Um, now, this Church at the back should be pretty much dried off now, so I can go in with a bit of darker paint and get in this bit of darkness on the right hand side of the church. Like this, just paint it in. That kind of connects on to the wall there. Is there any other maybe a bit under the roof here. There's like something there. There's also the right side here. There's a bit of darkness, so that needs to be indicated too. I darken off part of that wall again. Don't feel afraid to adjust if you need to A little bit of scratching. What's wrong with this area here needs to be blended a bit. What I think I'll do is just pick up some yellowish paint or greenish, yellowish paint here and maybe just feather in marks, some conjoining sort of marks, in areas. There's also some of these sort of spots as well where I can just feather in a bit of lighter color with the green, sort of, you know, maybe catching some light like this. A bit of that white does make a big difference. You know, sometimes you get bits of grass that grow onto the actual pathway itself. It's Yep. It's this kind of combination of layering that helps to make it look more realistic. Maybe some up here. Okay, I've got a bit of this titanium white that I'm going to pick up and just apply onto the highlights. So let's have a look. Okay, a bit on the head on the head there and the left hand side, the shoulder. Um, like that. The arm maybe there. Okay. You can also just put a little dots and bits and pieces where you think you might see a highlight just in spots here and there. It's not really needed, but can be good. Sometimes what I'll do is I'll mix a bit of that yellow in tiny bit of that yellow in with the white. And this will create a kind of a more a better kind of highlight for some of these rocks and things here because it will just fit in, like, as you see, with all the grass rather than using it like a plain stark sort of white color. You know, maybe something here. I don't know, just a way to create a bit of interest and highlight, I suppose, in some parts. And we are finished. 88. Stockholm Buildings Drawing: Is a really nice little street scene of Stockholm in Sweden, just in the center of the city, and I like this photo because it shows a really nice contrast between light and dark, the sort of golden look of the buildings and contrasted with the coolness of the ground and, you know, some figures walking around. And this photo was actually a little bit blurry. I hadn't focused the camera properly, but it's actually perfect for this particular painting so that we don't focus too much on the details. So let's go ahead and put in, firstly, a line roughly where the bottom of the buildings are. Now, I reckon I'll go about about here. Okay. And I just wanted to increase that line a little bit, give it, you know, put a bit more space here at the bottom so that I maybe have some room to put some cars. Who knows? But yeah, the center of the page is right here, so let's mark the center of the page, okay? And the reason this is so important is because this is where the vanishing point is. It's quite typical one point perspective scene, okay? So we've got all these lines sort of going towards the vanishing point. But across to the right hand side, we've got the buildings that are kind of separated out into two large shapes. So we've got, of course, these buildings here in the background. And again, these are not well defined as well, because obviously, we've got a lot of blurriness back there, okay? But it's this sort of yellowish building that we need to emphasize a bit more, and I'm just going to roughly pencil in the top of where the building is, okay. And at this point, I'm just looking at everything and trying to find shapes, yeah. So this is like a chimney, and there's like a rectangular sort of box shape on top. Then you've got this triangular rooftop here. Underneath. Of course, you've got the base, and then maybe, like, a bit of the side of the building like that. Okay, that we might be able to just squeeze in like this. The and I'm going in with a very light touch as well. I don't want to over sort of draw too much in here. This is sort of dome like shape, and then of course, this part of the dome sort of sticks up in front of the building. So just a rough, you know, drawing of that dome. You see it come down, and then you've got, like, a couple of, you know, this nice little separation here in the building like that. Okay, so this is going to help me to indicate, these windows, like the floors of the building. So we've got floor one floor here. Of course, this has a second part of the roof that runs like that as well. Okay. And the sheet of paper that I'm using is actually a little bit longer. So yeah, this is white. I kind of looks like I'm stretching out the stretching out this building a bit more, but we can make up some of the stuff along the sides if it's a bit too long, which is what I think I'm going to have to do anyway. There is a secondary dome here that I'm just going to imply and maybe make it more roundish, like that. Yep. And I'll bring this down again. Great. I think there might be another one there. I'm not sure. Let's just I'm just going to indicate something else there. Could be another dome or what have you. But yeah, a lot of this detail, again, is going to be one big shape later once we go in. So now, we've got these sort of separations in the building, one up the top there. Then you've got another one kind of coming down and maybe right here. Okay. And then the base of the building, which is sort of like here. And then you've got all the shop fronts and signs, all that kind of stuff there. And then, of course, you know, start encountering some cars here in the front of the scene. I might as well just draw one in now quickly so that it helps to ground everything else nicely. Okay. You go to the side of a car like that, the front of it there. There we are a simple car just in front of this building. You should be able to see the back tire roughly in there as well. Okay. Fantastic. We've even got people walking around. I can just just quickly scribble in a person there, 1 ft maybe going forward, 1 ft going backwards, a guy just maybe walking into a scene. And, you know, on this day, there was a lot of people that looked like they were just finishing up with work or something like that. So, you know, heading back heading back home or heading to the train station. So yeah, this part of the building here, we just need to put in three layers of these uh yeah, of these windows. So one that's two, three, roughly here, one, two, three. Now, I always try to do this loosely, okay, because for some reason, the more you try to make all the windows look perfect, the more forced it looks later, and it just sticks out, especially if you're painting in a loose manner like we are on this particular scene, we want things to yeah, we want things to at least blend together nicely and match the style. So this area of the building facades quite complicated, actually. And I'm just simplifying this down into one big rectangle. You know, I know there's some windows running through here, and we might, you know, put that in later on with the watercolors. But for the time being, that's all I really want to do something simple like this for that facade. And then we've got, of course, some more windows here to the right. You know, there's another window here and another window beneath. Look, there's actually, three windows here, so I'll have to re space them. Don't be afraid to just redraw over things as well. The pencil. You can always figure it out as you go. Um, I'm going to just make up some more windows and things here because, again, we've got some additional space, and near the edges of the scene, I don't need to worry too much anyhow. Okay. It's that part top of the roof. And then there's, like, a chimney here as well, which I'll just quickly emphasize like that. So that right hand side of the building is looking pretty pretty right. You know, there might be a car here. I think there's a car here just in the background that I'll just quickly emphasize, okay? Just sort of, not emphasize, but quickly imply in the distance. But this car is the important one. It's close to the front of the scene. Yeah, in terms of the shadows as well, we'll have to imply some of that a bit later. Uh, yeah, very, very light sort of maybe wet and wet shadows because it's all going to be in darkness. And then I'm going to start now working on this left hand side of the scene. And on this left hand side of the scene, again, we've got the buildings that kind of go up like that. Okay. Let's see, where does it roughly stop around about here, soul's estimate was alright. Roughly here, okay? And we've got this side of this building, and I'm pretty sure this was a theater, some kind of arts theater. So just draw this in this side of the building. Again, looking at the shapes of the building because there is a side here that is kind of a bit darker, like that. I mean, it comes down. You've got some windows. Let me just get in the basic shape of this. Can be difficult to draw as well on the left hand side when you're you're right handed like myself, but we will make it work. Now, this top part of this structure, I can't see completely, but I'm going to just draw it in roughly as I remember, it's sort of a squarish shape there, sign there, and then you've got this kind of dome that goes up like that. There we are looking good. And then, of course, a little something on top there, the top part of the dome there. Okay. Now, we've got this big old traffic light in here, and I'm going to actually stick it in on the other side of this whole structure of the building because there's actually a bit more room in this you know, on this sheet of paper because it's a bit longer than the photograph that I took. So let's go down. Let's start separating out the parts of this building, you know, to get a couple of verticals here. You got some kind of other structure back there. This buildings a lot more subdued compared to the right hand side one, it almost looks a bit like medieval. And Couple of windows and stuff. Now, underneath, this is the entrance to the theater, so you've got kind of all this color and interesting stuff going on there. I'm not too worried about what to do with this later. We'll just add in some color and things to make it come out. But the main thing I want to do is just kind of pencil in the rough locations of some of these windows, and, you know, there's actually quite a few to put in here. So there's, like, almost three layers, one, two, three, like that. Okay? And there's probably more running down the left hand side as well. So I'm going to just imply maybe something over there. But look, again, because it's on the edges of the scene, we don't need to worry too much. And yeah, again, I can't really see this, but there is some kind of maybe a statue or something a monument up there, and then you've got, of course, these three sort of areas there as well. So that's pretty much going to be enough. Now, there is something here. I don't know what this is. I think it was also another maybe like a lamp. Looks like a bit of sparkle coming out there. We have this traffic light, which whether you want to put this in or not is up to you, but I'm going to do this. And the reason why is just so I can create a sense of contrast and depth with these sort of objects in the front and back of the scene. So I've just scribbled something in like that. It's no big deal. And, you know, we've also got some other cars on the road. I'm going to put another one in here. You can just make out. There's a car kind of in the darkness there, the back of the scene. But that's got to be a wheel. That can be a wheel, too, underneath it there. Yep. And then, like the windows on the side, like this. Okay, all this stuff in the back is all pretty much going to be in darkness, and there is a kind of like what do you call it a light pole there. There might be some kind of pole there as well. Did notice there is some kind of lamp maybe running through here. Let's Let's put this one. Let's put something in here, okay? I like that. Keep it a bit more interesting. Let's have another, you know, some more people have someone kind of walking here into the scene and notice how I sort of place the legs so that one's forward, one's kind of back like that so that they look, you know, looks like they're kind of walking in a particular direction. Like this is like a like a crossing, which it is. But I've simplified it a little bit. Oops. I didn't want that doesn't matter. There we are. Just a couple of people crossing paths. Maybe someone larger, a larger figure here that's just like disappearing into the front of the scene. Why not just add someone in like that? Again, it helps with the overall contrast, the depth, this sort of making it look like it's more three dimensional. And you can put in, of course, some people here in the background. I'm making them smaller for this particular reason, again, just to create depth the scene. Do I need you to put any more people in? Probably not. You know, I'm quite happy with how this looks can always add in more afterwards, but I think this is pretty good for a start. So 89. Stockholm Buildings Painting: Let's go ahead and get started on the painting. And the first thing that I want to do is add in the sky. So some cerulean blue. It's really nice sunny day. I want to imply this. So just a lot of this cerulean blue. And also, the amount of paint I'm using is very, very little. I mean, it's only about 5% paint, if anything, Okay, just to make sure you're keeping it nice and light. Okay. And I'm cutting around the buildings as well, because I know that with the buildings, we need to make them warm. So we have to be extra careful here to make sure we preserve the warmth on these buildings. Okay? So just cut around. Don't have to be pedantic about it, but just keeping in mind Um, yeah, that we're creating a separation between the sky and these buildings. See, I mean, I've accidentally gone over some of the buildings anyway, but it doesn't matter, especially out in the back areas there. Okay, over here, just trying to get this done quickly before this wash dries off. Um, Yep, very light super light wash of paint. On the top, sometimes I like to just add in a few brush strokes here and there, some darker bits of paint. Another thing some people like to do is that they like to add in clouds and stuff like that. Whether I want to do that, not sure. We can add in a bit of purple up there. Like I'm just drying off my brush and then yeah, I'll just do this a quick little cloud effect like this and there. So it's not like a completely a fine well, it is a fine day, but just with, like, a little bit of variation in the sky, I suppose. Don't have to do this. You can just leave it as it was before. Okay. So let's move down into the rest of the scene, and I'm going to be picking up some yellow. So let's grab some yellow ochre. And I've also got some acridon gold, Conacrodone gold and yellow ochre, okay? I really want to emphasize the light on this building. So this golden quality of light I just amazing. So let's just go and do that. Oops. I didn't want that. You know, you've got to be really careful sometimes with your yellows, because when they start mixing in with any other color, you end up getting some greens, which you may not want, especially especially not just yet in this scene. So it's kind of unavoidable in some parts. Okay, let's just bring this whole wash downwards. Yeah, so it's mainly Cranacroton gold, bit of like I said, bit of, uh yellow ochre to just subdue that down, make it not super vibrant, but vibrant enough. Okay, cutting around the figures and the cars and stuff down the base. Okay? And notice here I'm letting some kind of blend into the sky. That's no big deal. Okay, so I'm going to mix up a bit of yellow ochre with some titanium white. And why am I doing this just so that I can get a more subdued yellow for some parts of the scene. For example, this part here, that just needs to have a kind of a um yeah, more subdued sort of yellow. Okay? And don't be afraid to leave some white in areas as well. Okay. Yeah, that's a accidentally sort of blending a bit with the sky, but that's no big deal. Now, this color roughly approximate what we have on the left side of this building, like maybe some little bit of brown in there. I've got some burnt tumba, burnt sienna. And yeah, this is going to be a good. This is the perfect sort of color. For this building, I can get away actually painting it almost the same color. Okay. All right. Let's bring this down here. Okay. And bring it down to the ground. There is a bit of golden sort of color here, which I will just emphasize. Again, this is the quality of light that we're getting in parts of the scene, okay? So maybe this can be just a bit of a transition between that yellowish golden color and that more subdued color up the top. Okay? This is all looking pretty decent so far. Now, what I want to do next is going to be a little bit, a little bit long. But basically, I want to do all the ground and make it pretty dark, and then I'm going to add on the shadows directly on top of these two while they're still wet. So let's first mix up that bit of color, a shadow color. And I've got myself here a bit of ultramarine blue. Okay, ultramarine blue, and I've got some neutral tint. I've also got a little bit of burnt tumber. And I'm just going to mix up a really dark, sort of purplish a bit of brownish color in there. Okay? And let's test that out. That looks decent, but I do want maybe a bit more blue in there. The, that's better. I just more blue. And, what I'll do is that I'm just going to bring this wash down, okay? Bring this wash down and get everything to sort of blend. I'm also cutting around some of these figures, too. Alright? Okay. But, uh, just leaving some of the bodies and things like that, as well. The car's here as well. You know, let's just cut around. The cars a touch. Okay, you've got the see this figure here. Um Here we have it. And I've mixed up a lot of this paint, so it just helps now because I don't have to remix it. And it probably will dry a little bit lighter, which is fine. I think I've got just enough to cover this area. Alright, that's perfect. And, of course, the last little thing I like to do as well, is sometimes at the bottom, I'll just add in a bit of extra darker paint, okay? And this just helps again to create that sense of sense of depth in the scene, okay? And this will dry a little bit lighter. So far, I'm liking the colors and everything. Now, what I want to do is go into the buildings and put in some little wet on wet kind of shadows on the buildings. And this is going to be a little tricky. I'm going to pick up a bit of this sort of bluish color, dilute that down. So kind of blue and ultramarine blue and a bit of the brown Okay to create a sort of a grayish, but, like, a cool gray color. And let's do this, okay? Let's try this out. Now, that's roughly looking okay. All right. Now, I only want there to be just a soft sort of shadow on some of these buildings like here, okay? So it's not going to be as dark as the ground. Okay. And I'm just touching onto it. That's all. I'm not trying to, you know, get in a really dark sort of shadow, but just a bit of that indication, as you can see in the reference photo, there is a soft shadow running across here. So This part has actually already dried, so that doesn't matter. Just soften that off a bit. Okay, that's going to dry and hopefully create a similar kind of effect that we see in the reference photo. Before the time being, what we will do is let the top dry. And for some of these bits and pieces down below, we are going to pick up a smaller round brush or a brush with some yeah, with some sort of point. You can use a flat brush as well, because the flat brush will allow you to get in that level of detail. But basically, we're just going to paint in some of the details of the car and stuff. So, this car is actually kind of like bluish. Let's just put in a lighter sort of blue color, like that. Okay, hopefully some of this will blend into the wash that's leftover. But we want to make sure we've got something here, so that once we go in again to just emphasize the wheels and stuff like that. It's going to look like a car. I mean, this doesn't really look like a car at all. It's somos just looks like a box or something on the distance. That doesn't matter. We can redo that afterwards. I just wanted to get a little wash going for that car. And, of course, the people, as well, we can put in some colors. That's just a warmer color that I found. So drop that bit of warmer color in perhaps. And on the left hand side, you know, I might have have a look maybe something like that, a bit of color in that figure. And really, a lot of these figures are quite dark. So I reckon I'm going to go over the top afterwards, anyway. And this was another figure that we had sort of walking in to the scene, okay. Try not to use too many colors as well, the similar colors that I've used on the other parts. The rest of this we can get in yeah, with just implying some shadows afterwards. And yeah, let's give this a quick dry. 90. Stockholm Buildings Finishing: Alright, that first wash has dried off quite nicely, and we can now continue on with some of the details of this scene. And I am just scrabbing out some brushes, basically, a couple of flat brushes, 'cause I think these flat brushes are going to be great for some of these buildings. And we're gonna start working. Uh, yeah, let's go with a couple of flat brushes and also a round brush. Okay. The round brush might help detail the windows a bit, which will be good. Um, Okay. So first thing I want to do is just maybe put in a bit of blue in some of these windows, like just a bit of cerulean blue here and there. You know, this is just going to add in I guess this sense of reflectivity, you know, the light reflecting off the reflecting from the sky. Okay? Because, yeah, just a little bit of something in there, a bit of coolness. You have to be sparing with this, as well. You know, just bits and pieces. Because once we actually go in and outline the frames of the window, it's kind of more difficult to do it then. But, yeah, that's fine. But See, over here, it's a lot more vibrant on the areas that I had left white before as well, rather than these parts that I've had to go over the top. But at the same time, it still looks good because not everything is that vibrant anyhow. Okay. So with the flat brush, I've got a couple of flat brushes. I've got a small flat brush and a larger flat brush. I'm going to maybe go in with the smaller one first and work on the chimney area. So I've got this let's have a look. I'm going to mix up like a grayish color. Yeah. It's just pins gray, okay, in there. And let's have a look at this rooftop now. It is darker than that. Just mixing it up there. So I can just get in this indication of this roof here. Okay. There, there we go a bit of that rooftop, and there's some little features in there as well. Um, below here, we now have a bit of darkness, like that. So I'm going to just put that in quickly. If I can get this in with just a few brushstrokes that's more or less ideal. Um, Now, this sort of stage here is basically wet on dry painting. Okay? So there's a little bit of detailing work involved. Um, you put in a bit of details for the sides of these buildings as well, like that. The top of this dome needs to be emphasized more. So I'm just, again, putting in a bit of detail up there for that dome. Okay. Really, a lot of this stuff from here on is just it's just indications, little detailings on the building itself, because there's not a whole lot else that we need to imply. Basically, we've just got to sort of make it look like there is some details. There are some details in here. Okay. And the only way to do that is just through this little fine brush work, as you can see, very, very kind of quick brush strokes. And I'm holding the brush further down to aid with this, okay? This bottom part here, again, this base area, and then we've got some darkness behind as well. We just go to dampen that top part of the building off a little bit, remove some of that paint. Just felt like I've overdone it a bit. But yeah, I'll go through it again afterwards with, again, a little bit more detailing work. These little windows, you know, just quick indications that there are windows in the Theo. This, again, was what I was putting in this dome or whatever behind. That was meant to be a shadow. Behind here, it just gets really dark. This is where I can just pick up a bit of darker paint and add that in. Maybe some blue as well. For those buildings and what have you in the background, simplify down. But over here, when you get underneath these like spore signs and stuff, this is where you can just go a bit more darker as well. This is going to help bring out those cars and details that we had put in previously. Okay. Same over here. Okay. Okay, good. I'm going to just work on some of the stuff on the left hand side of the scene now I've played around a bit on the right hand side. So let's go from about here. And I'm gonna again create this large shape. Going towards the right. Yeah, and disappearing off into the distance. Of course, cutting around the figures, okay? We until we get to this building, which becomes a little lighter on the left side. So we'll just put in a bit of something like that. Little darker, sorry, darker on that right hand side there. And the rest of it, um, The rest of it, there's not a whole lot else to do other than just pick up some darker paint and do the same thing. Essentially just imply some details on the building itself. So just dilute that down a bit. There is some darkness on the right hand side of this structure, this dome here, so I can go in and just again, imply that here, bit of darkness here as well. Where else do we have a bit of something up there? The frames of these windows, you can just again, have a little bit of a play around, adding in some little details, the frames, I guess, of the windows. But again, I don't want to overdo it. That. If you can get most of this stuff in and most of these shadows in in one go, it makes life so much more easier. Yep. Of course, there's a few more of these other bits and pieces, you know, running down the sides of the building. You can spend all day getting in these architectural details, but I really suggest to imply, otherwise you will get bogged down and overwhelmed. I'm going to mix up another dark color here and just do the same sort of deal, same deal as like on the right hand side of the scene. Okay, just darkening in some spots here. And that's just to indicate the shops and things. If I can blend that on a little bit to the right hand side, as well, that would be good. Maybe a Okay, bit of that there. Okay. So I'm going to put in some details for the figures and the cars now. So bit of darkness for the wheels is going to be important, just a bit of something here. And maybe some shadow or something underneath the car. And this is going to be interesting because the light source is kind of coming from the back. So I reckon the easiest way to do this and not spend too much time on it is to use a spray bottle. So, let's first, yeah, let's firstly, let's just spray in some areas, maybe where the legs are. These figures. This is just so that I can maybe get in a bit of a softer shadow underneath, maybe running towards the front. Even the cars there, I just want them to just have those shadows dispersed out a bit more. That's because it's more sort of softer light and the legs, you know, as you can see, they are the color is just sort of shifting around a bit, which I don't like, but, um, This would just simplify this all. And there's a figure back there as well. There's a person here, too, right? Person back there maybe. So darkness in the windows of these cars. Yep. Sometimes, the longer you spend on these figures and trying to get them to actually look like figures, the more they just start to look funny and not like people at all. So I'm doing my best to kind of find a balance between both. Okay, good. All right. There are some small bits and pieces now we just need to do to tidy everything up. And one thing I like to do is put in, you know, like, the street lamps, tidy up some of the buildings a bit. It's really just picking up the darkest bits of paint and also, you know, tidying up some parts of the figures, adding in some hair or some areas of contrast. But, you know, that area of the roof, I needed to emphasize that a bit more. There's some bits here, for example. This area of the roof has kind of lost that sharpness, so I'm going to just put that in again and re emphasize parts of that. Same with this, you've got to be very careful here because you can, like, at this point, start overdoing things. And then it looks yeah, parts of the painting then start to look way overworked and not the best. So just be careful at this stage. Okay. But there might just have been some parts, for example, you thought maybe there's a bit more contrast on that window. Add that in. Maybe there's a window that's completely dark. You can add that in as well. So it's these tiny little things that you know, finishing touches that will bring the painting together. It's hard to describe exactly what I'm doing. I'm just picking out some parts that I think would look better with a bit more detailing. Underneath here, you know, this whole spot here, maybe some windows or something for this section of the buildings in the distance. You know, something like that would be good. Darker spots here. Um, you know, as you know, there are little contrasts difference in contrast. I mean, in some spots in the darkness, so it's not just completely the same level of darkness all the way through. So this is important. That might help bring out that figure, as well as this one here. Here. Let's have a look at that building again. Yeah, there's maybe some dark spots here. There's a bit darker spot there on the right hand side of that building. Let's just re emphasize that connect that on as well. Again, being careful not to over it. Okay. Then you've got things like this, traffic light, this traffic poll here. You know, bigger brush would be better. Pain's gray, and I'm just going to put this in with a couple of quick brush strokes. It doesn't even look quite like that traffic light, but I hope that yeah, it should kind of resemble it. A. Running down the page. There we go. We've got a I've got a traffic light now. Whoops, like that. Something that resembles a traffic light. There is some type of lamp post here. Here we go. Again, indications of that, something sticking out here as well, just to keep the scene looking a bit more interesting. There is also this lamp here. Um All right. I can imply again. I I don't see all of this lamp in there, but I'm just, you know, making this part up, really. A little bit more darkness on some of the figures, not all of them, but just some that I might want to emphasize further. Being in the dark, it's kind of difficult to see what exactly is going on in there, but you can imply bigger some smaller figures in the distance as well. Okay. It's looking a bit better. The contrast is really was needed with these figures, I think, just something that make them stand out better. Touch of red for the faces. Looks. And we're finished. 91. Stockholm Road Drawing: Another scene from Stockholm. Really nice sort of street scene, and I like the contrast as well, between the light and the dark areas. Lots of figures and obviously that building in the background, amazing sort of building. So let's go ahead and get started on the drawing, and I'm going to put in a line roughly about just under the halfway mark of the paper. This is going to allow me to place the building, okay? Might be just better put it a little bit lower because it is quite tall. And the building actually finishes in the center, roughly in the center of the page. So I'm going to just put in the basic outline of it. Okay, a place roughly where it is, okay? And I always like to sketch really loosely because this means essentially, you can change it up as you go and not be to not be too worried, especially if you draw in quite dark. Okay? There's a darker part of the building there in the back, and there's like a a tower or something down the back there as well. And on the right hand side, we've got, you know, it looks like there's a dome somewhere there in the distance, and buildings running down the side like this, there is a sort of pointy looking building there. But apart from that, apart from that, the rest of the buildings are just kind of covered in these massive trees and there's like, you know, there's a little walkway here and traffic light, which I can just indicate like this and over here as well, I don't bother too much with all the details of this just enough to sort of indicate that they are there. Everything all connected up together, and, you know, we've got the whole itself into the ground somewhere here on this sort of traffic island, like that. Okay. Fantastic. And we also have a walkway that's coming in to the back of the scene here and maybe extending out all the way down to the end of the street like that. Putting in these people really does help. I'm going to just draw in figures, some of these figures standing by the road. There's someone even just walking into the distance like this as well. There's a person just standing by here, not doing all that much. The light source is also coming from yeah, light source is coming from the, kind of, like, back left. But I might change the shadows to kind of come off on less of an ankle so that they look more interesting. So more kind of to the right rather than to the front and to the right. I think this, yeah, definitely will make things look look a bit more dramatic, which I like. You do have a cyclist that's, like, around here as well, kind of closer to the scene and outstretched stairs the little seat. And the wheels just got to make sure I get these wheels in, okay? That's the leg sticking out the back. Um, yeah, the wheel is really important. Um. Good. I can't really see the other one, but there is another cyclist in the front here as well. Again, this sort of wheel running across the back there like that. Okay. I've done the leg too large for this one. Yeah. That's a bit better. Quick indication. And again, that shadow, I think I'll get to come off, like on this sort of angle there. Of course, you've got another a car here to the left. I'm going to put in some of the details of this car. It's a truck at van. And if you look at it, it's just a rectangle on wheels. So you just got to look at the shapes and figure out a way of simplifying them. You know, that's kind of like the shape of the shadow of it there. I'm trying to again, get all the shadows running in the same sort of direction. And then we've got this one shadow coming in from the back of the scene, and that just sort of um, yeah, that just sort of blends in with everything. But maybe leaves I'm just leave a bit of white here. Yep. Better. Okay. And of course, this building here in the distance. Okay? So I've put in that sort of squarish shape of the building, okay? And then what we're gonna do is just start adding on little details like this, these two, like, areas here that sort of start to stick up towards the sky. I'm going to start just implying the shapes of them that. And uh a bit of this sort of dome on top like this. Okay. It does get quite complex, but I'm just simplifying this down a bit. There's some little architectural details that stick up there. Okay. Yeah, the tops of these domes are really important. So you want to spend more time just drawing them in. Because they're quite an obvious feature of this building. Was the rest of it, I think you can get away with a bit of, you can definitely get away with it. If you're not too careful, this sort of bit sticking out there. There's like a squarish sort of feature here. You know, there's sort of like some windows, I suppose, one, two, three, one, two, three. Okay, great. Getting there, how many floors are there? There's kind of like three rows of windows like around this section. So it's like 11, two, one, one, two, one. Yeah, I'm just indicating these windows like not so detail, but just to make it look like there's at least three layers of them. Then when you get further down, it's not a big deal anymore. You sort of can just start winging in a bit. That window falls behind the truck. There is some other white shape here. It could be a truck as well, actually, it looks like a truck parked in front of this building. Kind of distant truck. And, of course, this right hand side of the building is just all dark and you've got, like, a dome here as well that we can imply like that. Let's go around to other side of that building, and here we've got, like, the rooftop, which is partially obscured by trees. And there's a shadow as well just cast onto the side of that building, which is great because then I don't need to put in really much details in there. It's mainly the front of this building that needs a little bit of detailing. There are trees here as well, thankfully. So these are going to help obscure some of the details so we don't have to be spending all day getting this stuff in. Okay? This can all just sort of spread into 11, large shadow. That can be the start of the road, though. Okay. So it's like a sort of one point perspective, more like a one point perspective with the vanishing point here. Okay. Some trees here on the right, as well. I'm going to simplify this down, guys, I don't want to again, spend all day doing this. The trunks, tree trunks here coming down. There's a wall here. Yeah, that's right. There is a wall here and some kind of gate. So I can imply there's sort of wall, like that. Not a big deal. Maybe a car here in the distance as you move off. The good. Um, So cars in the distance. Kate? I put someone here as well, maybe a person walking through the scene, bit closer up. A little bit closer up. Fantastic. And I think that's good. 92. Stockholm Road Painting: And the first thing I'm going to do is get in a bit of color for the sky. For this, I'm just going to use a bit of cerulean blue mixed down with some gray, and I've already got a bit of gray left on the page. It's just basically all your primary colors mixed together. And more cerulean blue here. Look, I wanted to just dull the sky down just a little bit, and the paint that I'm using as well is mostly just water. It's about 5% paint. And the rest of it water. Okay? So the great thing with this mop brush is that it does cut around it's a very fine tip, allowing me to cut around everything because we want to leave some of that color on the, we want to leave some of that color on the buildings. Well, bit of the white on the buildings so that we've got some warm colors in the buildings later, okay? So I'm just kind of feathering in a lot of this light color. I don't really have much in there. It's just a very, very little, very, very light layer of paint just to get rid of the white of the paper. And, you know, it is obviously it's not as vibrant in terms of the painting in terms of the reference photo. But yeah, I just wanted to dull that sky down a little. Okay, so let's continue further down. Now, we're going to need some warm colors in here. I've got some a little bit of yellow ochre. Again, really light value of yellow ochre. And I'm just going to drop this straight into the the top of this building here in there. Okay. And I don't mind if it blends a little bit with the sky. It's not a big deal. I just want to get in a light wash of this color through here. You know, even if I go through the rooftop, it's not a big deal, as well. Sometimes you might be able to pick up a little bit more brown. I've got some burnt sienna here that I can just drop into this top section of this tower, something like that. Again, it may mix with the sky a little bit. Not a big deal. Again, I'm just trying to get in a bit of variation in value, even though it's all wet and wet work. If I can get a little bit of this stuff done now, it's going to save me some time later. Also it creates a nice, it just creates a nicer effect. Sometimes when you can get some of this painted in wet too wet, but chances are I'm going to have to redo all of this anyway. And, yeah, when it's too wet like this, sometimes the paint can just go all over the place. I'm just being quite careful to make sure it doesn't do that. Okay. Sometimes if you do something like that, sort of spreads too much, you can just pick up a bit of tissue paper and lift off paint. This building should do with a bit of kind of grayish warmer gray color. So just a bit of brown or something in there as well. Okay. Fantastic. What else do we have? Not all that much. I'm just going to darken down some of this other part of the building on the right here. But for the rest of it, let's just keep going in with this kind of yellowish paint. Okay. And of course, around here, we do have some trees, some, some trees running through there as well. So just I might just go all over through the back region and cut around some of those buildings so that maybe some of them appear white, and then the rest of them I can just doll down a little bit like that. So I've got a bit an area of contrast back there, which might be useful. I always try to leave some areas of contrast. And, you know, here, of course, we've got these trees. And so if I mix in a bit of yellow in here, it's not a big deal. That is going to now turn into some green, once I add a bit of blue or some other color through there. So I need a bit up the top here as well, maybe have some golden yellowish color. I'm just changing this up a bit to make it look a bit more green than usual. This area here, I'll just darken down. That's a traffic light. We'll go over the top of it afterwards again. But yeah, I want to make it look like there is some sort of tree there, and I'm going to paint this wall in with a bit of burnt sienna here, okay? There's all these people walking around. I'm not worried too much. I'm just going to go over them mostly. But as we move down the page, I think it's important to start matching the color of the road, and I've already mixed up a gray here on the page. So I'm going to just go through and's work this gray in. It's actually a lot lighter than that. Maybe, yeah, about this color. Okay, a bit of that gray cutting around the car and things here as well. Maybe this right hand side, I can color that in. Yeah, it's a very light sort of gray, and I want that to just spread throughout the entire scene and stay fairly light, as well because we can Then use this to create a bit of light on the road. But near the base of the road, this is where I sort of like to feather in a touch of color just to create a little gradation kind of thing so that the bottom appears a little darker than the top of the road. This helps with this sense of depth in the scene. So quite important to do this, especially while the page is still wet. Okay. Good. So that's the first wash. Now, there are a few little sort of quick touches that I like to do while the paint is still wet, and that's just dropping in a bit of darker green. For example, for this tree here, I want to just get in a bit of furrins for this green and also here in these sort of trees that are lining on the sides of the building, that kind of thing here, okay? So, something like that. Okay, not too obvious, but just this impression of some leaves and running through that yellow as well so that it becomes, yeah, I guess, a little bit more furry wet and wet. And Yep, that is looking good so far. So I'm just thinking if there's anything else I need to put in here. Maybe the back of this truck. I'll just get it in with a bit of yellow. Just put a bit of yellow here like that. And this figure to touch a yellow there. Oops. Okay. Let's give this a moment to dry. 93. Stockholm Road Finishing: Okay, now everything's all dried now, and what we want to do is basically start working on the small details. So I have got a little square brush here or a flat brush, and I just sort of work out which areas should we start on first. I reckon I reckon we can work on the top sections of this building and then just go down the page. I've got a small round brush as well. And this is, this is basically to detail a touch, right? So let's just start off maybe with the round brush first and then I'll move on to the the other brushes, the flat brush. But I want to make sure, yeah, basically this top part of the this top part is quite detailed, okay? And that I have enough kind of things going on in here, okay? And this is just to, um, add a little bit of tiny little bit of detailing onto this building, okay? So you've got these sort of you know, bits that stick out on the roof here at the back. You know, you've got that window, whatever there. And I'm just using a little bit of brown paint for this and simplifying this down. I know there's more colors and stuff going on in here, but I don't want to, yeah, I don't want to spend too much time on that. But one thing I will do is perhaps just color this in a bit better so that the top of this tower looks more connected and darker from the rest of the building. I think that's important. I think that looks better so that it just forms more of a contrast. Okay. Great. And, you know, here as well, on the left side, there appears to be also this rooftop which we need to get in like that. There we have it. You know, moving down. There's more windows, you know, where I was kind of marking out before and now I've had a bit of time to detail. It's much easier to just go through and add in some of this stuff. Dry brush. So this helps basically means that I dry the brush off a little bit on the paper or on the cloth that I'm using so that the marks appear a little bit, sort of the paper, the texture of the paper shows through a little bit, which helps My some windows on this side of the building perhaps that I had not been able to get in before. It's just outlined that a bit. A lot of this stuff we can, you know, continue to fix up as we go along. Yeah. But there are some windows and things here that I will just imply quickly like that. Okay. Um, What else do we have? This kind of tower here in the background. That's got a touch of something there and bring that down. And then we've got a bit of darkness on the right hand side here. And again, I'm going to pick up just some neutral tint mixed with blue to darken off this spot here. I really want to make this part of the building stick out, okay? And you also got to cut around that tree here, touch there. Okay. Good. Fantastic. So that is the side of the building. Um, see if I can get that tree or whatever to show through a little bit through that. Um, I can lift off this Great. Now, I'm going to start working on the left hand side of the scene here. And I know that there is a lot of darkness running through this side of the scene, so I'm going to just pick up that same paint and work my way through some of this. And another thing you've got to I've forgotten is that this shadow on the side of the building is here, which I didn't really put in before, but I will now just look like a shadow forming on the building like that. At least I think that's a shadow. It could be a could be something else. Right. Let's go through and get this large shadow in the ground. Now, I need to mix up more paint. Neutral tint blue, bit of ultramarine blue, and a bit of brown. This is just going to help create a really nice dark value. Good. Around these figures as well. Let's see where does it end maybe here? And around this figure, though I might try just leave some of the whites on that figure. These shadows are best done if you can get them in one swoop and same with the shadows of all the cars and stuff as well. There, there's a car here. We can just put in a bit of that shadow running on the right hand side of the car and connect that on to the ground here. The shadow running towards the right hand side, there. Um, I'm just trying to change this out bit I've changed the shadow pattern a little bit compared to the reference, okay? Because I just wanted to come off on a more and more, I guess, interesting angle. Okay. Great. Now, these cyclists, again, I'm just going to pick up that same paint. Get the wheel in there. The wheel is what's going to really bring this make it look like a person on a bike. Of course, you've got the details of the person as well sitting there with the hands out head here with a little helmet. There's another person here, again, sitting on the bike. Okay, so a couple of maybe the spokes as well that does help. There we go. And of course, the shadow that runs to the right, this same paint that we've used already can be recycled and used for this too. Okay. Kind of seem like this shadow of that car there. I just thought I need to darken that a bit. Okay. Let's put in some of the figures, legs, maybe just a bunch of figures standing by the road. I can join their legs together and just make it a bit more simple. Of course, this is the side of the road. I can, again, just simplify this down. Like that. A lot of this is, it's just light there, so I don't really need to do much. But around this person, we need to get in a bit of darkness for this wall. It's sort of standing on standing near to anyway. Um Okay. Okay. And, of course, moving up into these trees which then become quite quite loose and abstract with the branches. But this is going to bring a bit of balance so that the left doesn't look too overpowering and full of full of shadows and darkness with the right looking the opposite. So yeah, I'm going to put in also some greens in here, so just a bit of another layer of some kind of Paint. Like that. Okay. These cars and the distance should have a shadow underneath them running towards the right hand side, as well, like that. Some little windows like this and emphasize reemphasize the roof of that building as well and the dome here of a building over in the distance. Can Maybe some of the separations of those buildings as well that can help and the different floors of those buildings to the right. Like this. But there's obviously there's still some of these trees and stuff running across like that. Okay. There is a little kind of gate, not a gate, but there's a fence behind here. So I'm going to just indicate some of this stuff like that. This figure is kind of difficult to see, but I'm going to bring the legs out like this, and same with the bike. These two bikes, I want to make them look a bit more realistic. That one looks better, the one in the back. But this one almost looks like a person. Now, tricky to sort of imply that, but at least they kind of this one here does look like a person on the bike. Okay. Just tiny bits of detailing can really help. Yeah, this could really read as a person standing or a person on a bike. Okay, they're just trying to get that person in like that, maybe a bit of a shadow, as well, running towards the right hand side, like this. Just a quick one. And again, in this sort of aze and darkness out in the back, you can put in little details like a fence. There there's maybe like a traffic pole or something there with some darker paint. There's even maybe some branches, tree branches running through like this, okay? So, yep, um, Okay. I might redo this car a little bit. The wheel, just the darkness underneath the car, the wheel there. I just need to re jig that and maybe emphasize some of the windows here as well on the right of the car just to make it read more like a car. There we are. Does it look a bit better now. These figures as well, I thought I would just make them maybe a bit darker. The legs, again, just here. Just a group of people maybe walking around in the distance in the background. Bit of pink or something for the faces. Um, I also want to maybe put in some little lines, little, what do you call them perspective lines running through the scene here as well. So that's just going to help lead the viewer into the scene. And really, for the rest of it, you're really just picking out details and looking at ways to perhaps emphasize and draw out some small details, okay? I'm not too fussed really about what all tiny sort of little things here and there, but it does help. To just imply some darkness and some form. You need to. And finishing touch I forgot to put in this kind of traffic pole. So let's do that here. I painted it in before or drawn it in before, and now we're going to just paint it in over the top, like this. Um, Going over the top of everything and keep it I'm keeping it pretty simple as well there we have it. Where it sort of sits in this little traffic island thing. And there's also a shadow being cast by it. So it would kind of go off maybe in this direction there. But got to put in an imaginary one here. All right, and we are finished. 94. Iceland Snow Drawing: Right, let's go ahead and get started on this drawing. And you've got these mountains in the background. You can see just on the top left hand corner. There's a lot of snow running through the scene, but there's also a lot of green, you know, grass and some rocks maybe around the front. So yeah, I think what I'm going to do is try to exaggerate the snow a little bit more, especially down into the mid and back area, but I'll leave the front with a little bit more grass. And so this was a scene where basically, I took this photograph, and it only just started snowing a couple of nights before. So let's go ahead and draw the horizon line in. So we're looking at that area, that line that separates the sky from the Earth, okay? Now, it's not right in the middle of the center. It's probably yeah, a little bit more than a third up from the bottom of the page. So I'm going to draw in that line here. Let's just go ahead and draw it in like that. Pretty basic, okay? And what I'm going to do here is start putting in some small details, okay? So we've got I might actually just, you know, tidy that one up a little bit. But yeah, essentially, we have got this mountain coming over from the left and how you want to actually draw this mountain in, whether you want to make it a little bit different in shape, that's really up to you. I mean, it's with these sort of these sort of subjects, you really don't need to yeah, really don't need to get them in too accurately, okay? So there we go. We've got that side of the mountain. Now, we can see that there are some, like, kind of striations running across like that. And I'm going to use the flat brush, actually, to imply this later. Not only that, you've got some, like, downward pieces of rock exposed, okay? So yeah, this is just to give me a little basic overview, not overview, but a little basic guide, remind me to put those srations in. Now, we've got this house here that's roughly in the center of the scene, and I've taken this photo quite well, actually, if I may say, because it's right in that sort of focal spot here. So I don't need to remove it around. Sometimes you do need to change around these photos a bit given, if you know, there might be on an odd angle. Okay? So I'm just getting in the rooftop, which is like a triangular shape like this. The back of the house, like that. There's kind of, there we go, like that. This one is a little bit more important to get in. And sometimes you got to zoom into that photo just a little bit to make sure that you've got the perspective right, okay? This is an interesting looking house. I actually thought this would be a lot easier to draw. There we go. It sort of comes out to here. The roof there. And then you've got this kind of section over here. There we go. Whoops. Kind of like that. Then you've got the base of the house here. There is some type of snow kind of grass in front of it, so we don't need to really do that. And we've got the sides of the house. That's one side, there. Then you've got the other side there, like that. Okay. So that's kind of looking it's kind of looking right. We've got some windows. I'm just going to draw in a few little quick indications of these windows. Again, not to get too obsessed with all the little details, but some of these really do help make it look more like a house. Tiny little details, especially in this sort of scene helps, given that there's a lot of snow, a lot of abstract sort of shapes in there, you know, having this kind of man made building keeps things more interesting. And actually complements all the abstract shapes nicely. So there we go. This is the little I don't know what it is, like an outouse or something like that there. Okay, to the left. There is something here, which I'm not sure what it is, but it's like a Yeah, I'm not sure what, I'm not sure exactly what this is, but it looks to be some kind of maybe a shed or storage area. It's not a big deal. Okay. Now, in the background, this is interesting because we've got a few little bits and pieces. I'm just going to get in the rooftops of some of these houses indicate the sides of the houses like that. You know, a lot of this stuff we don't need to really detail that much, okay? It's just kind of these square blocks in the background, tiny little sort of square blocks or whatever that can potentially indicate little houses in the background. There is something here as well, there's some kind of squarish shape behind there, which I'm going to put in, and it's always a good idea sometimes to add in some details, some darker details behind because that then helps to draw out the the light on the side of this building, okay? I'm just gonna extend that building out a little bit more downwards. That's. Yep. That's better. Having a look what else I might need to do this, some type of a shed or whatever that's like here, a larger sort of building, actually, that I can quickly put in all the way back there. All of this is mostly going to be left white. So I don't need to bother too much. But I think I'll add some more just here, maybe over in the distance to kind of help balance out the right hand side as well. Okay. I don't think I'll put any figures in here. I was thinking of putting a figure in there, but that's like a that's up to you if you want to do that or not. So u 95. Iceland Snow Painting: Want to get started on the painting and the first wash. So what I reckon I'll do first is I'm going to get in a really light kind of bluish color, cool color onto the mountains and the snow. Now, this is really just a light wash of cerulean blue to barely anything at all, something like that. Okay? Maybe. Yep. And this is just to get rid of the kind of white, complete white of the paper, okay? But I'm also leaving some areas of white too in there, okay? So just you kind of wet the brush a little bit and then continue downwards. And this is why it's important to sort of dry brush in this area as well, because that's the only way that you can sort of get some of these rougher spots, okay? Because you've got a bit of that blue light. It's reflecting the sky. So that's why the snow shows us a little bit kind of cooler in this scene. And I'm going to go downwards down the page, okay? And while it may look blue at the moment, once we put in all the other other colors and the darker colors, it's going to come out better. I'm also leaving the rooftops. Okay. Really important to do this so that the rooftops appear like the lightest part of the scene. So preserving that light. And, you know, this small not round brush. Mop brush really helps to cut around all these shapes. Okay? But then leave a little bit of color behind to show a contrast. So just bring this down. And, you know, like I said, you know, a lot of this area, I'm going to just also leave kind of white. All right. I think probably a good way to do this as well is to use a spray bottle. And I always carry around a little bottle like this on me just in case and this helps to do this accomplish the stage a lot faster. Okay, just sort of pre spray the page, pick up a little bit of that blue or whatever, drop it in. To create kind of more softness in here and create a better seamless kind of transition, okay. Like that. At the base, there's going to be some like yeah, basically, there's going to be grass and stuff like that. Okay. Now, for this kind of section up here now, hopefully this is dried or it was almost beginning to dry. Yeah, I think it is almost dried, but I want to go into the sky and then use that to kind of cut around the shapes the shape of this mountain. So yeah, for this, I'm going to pick up a bit of ultramarine blue and cerulean blue. Now this is going to be a darker mix, as you can see, darker sort of sky mix. Okay. And the reason why I'm doing this is so that mountain stands out a little bit from the sky. Okay? There's no other way around it. Okay? So bringing this wash down, like I said, it's just a bit of cerulean blue plus some ultramarine blue. Okay. I might actually might actually, continue to darken this a little bit more as I go down the page. But as you can see here, I'm using a flat brush, and this flat brush, it just makes it much easier to cut around the shape of the mountain, okay? So check that out. It's just a few little brush strokes like that, and, uh, yeah, I'm just darkening a little bit as I go further down the page. Now, normally, I'll go lighter, but for this particular scene, I just want to get that, I want to make it a little darker so that the mountain stands out. I don't want to risk having that not show up nice and crisp at the end. But still, this wash is really light. I mean, we're talking about 5% paint, except I'm using a darker paint in there, a bit of ultramarine blue, so it's going to look uh, yeah, it's going to look darker, even though we're using the same concentration, which is a very important point to make. So that's it. In one swoop, basically, we've gotten in some of these mountains. We've gotten in the sky. Now what I want to do is start to work on some of this stuff down here. Now, this is the fun bit, depending on your definition of fun. But basically, what we can do is pick up a few sort of smaller brushes. I'm going to be using probably a fan brush. M. And I do also have a rigger brush that can help to get in small details. So, fan brush and a little rigor brush. If you don't have that, you can use larger brushes anyway. But let's go ahead. I'm going to pick up some darker green color, and let's just feather some of this stuff in here. Good. Now I want this green to be pretty dull down as well. So I'm using a darker green that's not very vibrant at all, and just kind of feathering some of this in at the base here. And notice how it's like moving around because the paper is still wet. Okay? This is the only way to kind of do this. You have to do it while the page is still wet. I'm trying to get in maybe try to get in a little bit of this golden green color in some parts. Not too much of it, but, uh, this should kind of dilute out anyway. Okay? So as we move up the page, you notice I'm just going to start to vary these brush strokes a little bit so that we have less we have less grass and stuff up the back, okay? So here, I'm just going to put in a few little it indications like that. Maybe here. And it's just, you know, leaving out a little bit of paint, a little bit of that previous wash, which is almost nothing in there, just like the white of the page, okay? To indicate that we've got some snow in there, because if you get rid of it all, you're going to be left with just this green. So it's a tricky it's a tricky situation. You're really just, implying and you're leaving making a very conscious decision to leave some of the paper untouched. That's the only way to really, I think, to really do this, right? Some stuff here in the background is starting to dry off a little bit, as well. So, you got to be quick. Um, yeah. I think that looks good. I don't want to go, you know, I'm tempted to really go into the background more and start fiddling around with things. The only thing I would maybe do is just this section here. The flat brush would be better for this, actually, just to indicate green or whatever on this mountain and having it kind of almost touch the edge of the sky here. If I get a bit of furrinss I'm not too fuss. But yeah, something like that. I can just just kind of feather in a bit of this paint into the mountain, just at the base of the mountain, not too much because we don't want to eliminate that snowy sort of look there. Okay? But that seems to be working okay. 96. Iceland Snow Finishing: I will now pick up some darker sort of paint. I'm going to dry off my brush, pick up some darker paint, and I'm going to try indicate some of this stuff going on here. You can see the sort of striations of the mountain. And I think the flat brush actually works really well because it almost follows the same pattern of these rock striations. Rather than using a round brush, it just looks better. Like, for example, this bit here, which I can just imply. You want to do this while the paper is almost dried. Or completely dried. But can you see here I'm just kind of following this and kind of letting the texture of the paper show through, as well, even on this side, there, a bit of something there. It's really what you leave out that's creating all this illusion of rocks and mountains. Okay? So continuing on. Let's see. What else can we kind of work on? Maybe up here, there's a little bit of rock or whatever that I can just imply there as well. Okay. That's looking right to me. And I will start working a bit more on this foreground, just adding in a little bit of darker values here and there. Do this to create a bit more interest and contrast, which is super important. Because you do see actually in here, there are some darker spots of green. Okay. So just varying that up more. Add Let's add in a bit of ultramarine blue, as well to this mix. Okay, I I get a few little marks like this to kind of look like these shrubs, clumps of grass or whatever here. If I get kind of larger clumps like this, as well, it's going to show through nice Fantastic. And I think what I'll do now start working a little bit on the houses. Small lap brush, and I'll pick up some gray, a bit of gray color, mix that in to warm it up with some yellow. Let's see if we can There we go. Let's see if we can get in this building here. Again, just using that flat brush because it's easy to follow the shape of the building. These kind of darker shapes anyway, helps a lot. Here, let's go around like that. It's kind of darker than the rest of the um the rest of the surrounding objects, so it's going to make it kind of stand out better. Let's do it for this one, as well. We've got something here, like the shed or whatever. So it doesn't matter exactly what it is, but just something like that. Let's go for this one now. You know, we're leaving that little bit of that, color, lack of color on the roof. So you're putting in letting that snow, that sort of implied snow anyway, show through. I'm just going through, making sure I'm darkening this to the point that I'm happy with it. And it's the same deal with the ones in the back. So at some point, I stop looking at the reference and just start painting these things in, leaving, you know, leave that rooftop in, you know, this one as well. We can potentially just leave it looks didn't look so good, but the rooftop like that. What else do we have? We've got this one here. And you can use a round brush as well. Don't feel like you need to use this flat brush, because it does actually get a bit fiddly at times. So for example, this point here, where we've got something behind this house, I'll probably use the round brush like this. Yeah, it just makes it easier to cut around like that there. Like that. And as you notice, you know, I've got this paint and stuff spreading all over the place. Yeah, we're not fussed about that. And I think what I'll do is just scratch off some paint using this little pocket knife. Okay. So here at the base, you notice you get some parts that are drying off. So check this out. You can sort of scratch some little marks like this. You can make, like, a clump of grass, another clump of grass here. It's very tricky to do this if you're trying to just use watercolors in general. So like, scratching them off like this really takes I think it takes the painting to the next level, makes it look more detailed than it actually is. Takes barely any time. It's one of my favorite little techniques. And, you know, just to create a sense of texture in parts of your painting and, you know, you know, make sure that the clumps of grass are a little bit more spread apart. And, um, in the back, especially. So you don't want to emphasize this effect too much in the back. But, you know, here that looks pretty good, like near where the houses are. Just I almost helps to, um, I almost helps to bring out the house a little bit or make it kind of blend blend nicely. Okay. Some more here. Yeah, because it is like I said, it's very difficult to indicate texture in watercolors. So this is, check that out. I mean, it already looks a lot more detailed, and you couldn't really do this. We can't do it with a brush. But, um, it just darken everything. And sometimes that helps as well. So if you want some let's just say, let's get some darker strands or something in here, dry off the brush. Then I can just add in, you know, a few little darker little strands like this, okay? Do this quite sparingly and, you know, to the point where you're still leaving in all that previous work that you've done, but you're creating a variation of marks on the paper so that it's not all just the same you know, the same old marks the whole way through. You've got some darker ones, you've got some sharper ones, you've got some lighter ones which we scratched out before, okay? You know, there might even be some little inconsistencies. Like here, there's actually there's some real dark spots in parts of this area, right? Sharper dark spots in nature, not everything is uniform. You got these sort of They could be rocks. You know, who knows? So you're trying to replicate and create those sort of natural variations in the scene. You know, this could be a rock, even. I don't know. Um, at the same time, being careful not to overdo it. Any darkness you put in there is going to draw the viewer the viewer's eye straight into that area. Okay, so we are almost there. The last step I want to do is just put in some small details for the house. So I got a bit of darker paint. And let's just put in a window here like that. I tend to be pretty quick with this. I don't take too long. Otherwise, the windows kind of can look a bit stuck on inconsistent with the rest of the style of the scene. Okay, because if everything else is painted loosely and then you've got some really, really detailed window in there that's going to look a bit strange. Underneath the rooftop, as well, here, you notice there's actually a bit of a little bit of darkness. So I'm just going to imply that this there, um, same goes for this one. There, um, let's have a look at this one here. Um, maybe there. You know, there's some rooftops here that actually look pretty dark. Um, Oh, Just emphasizing some small details in the background like that. You can't even go a step further. And again, just darken off some parts of these areas of the mountains that, might want to emphasize more, using the side of the brush to try and get in a few sort of striations on top, like this. Sort of similar to how we were using that flat brush before, but I'm using the side of the round brush so that it creates more inconsistent randomized brush strokes so that yeah it doesn't look too put together. That's good. See how the texture of the paper also shows through, which is a huge thing. Okay, and we are finished.